[NetBehaviour] New review on Imagery in the 21st Century in LEONARDO.
New review on Imagery in the 21st Century in LEONARDO. Imagery in the 21st Century by Oliver Grau, Editor; with Thomas Veigl The MIT Press, Cambridge, MA, 2011 424 pp. illus. 132 b/w. Trade, $40 ISBN-10: 0262015722. Reviewed by Amy Ione Director, The Diatrope Institute Berkeley, CA 94704 USA As I began this review I began to think that the refrain “we are surrounded by images today” has lost its impact (despite my being among the guilty users of it). On the one hand, it seems that many of us notice the imagery. Yet, on the other hand, as we increasingly engage with our visual culture certain norms for our critical investigations are also developing. I’m not sure where this leaves us. To be sure, the nature and complexity of our image-abundant culture is extraordinary. Images are no longer sparse and highly treasured. Rather, we have visual social media, scientific imaging tools, and even static objects like paintings populate the ever-changing screens of our mobile and desktop devices. Even those among us who have resisted some of the broad spectrum of electronic options (think Flickr, Facebook, YouTube, thousands of television channels, digital games, and virtual worlds) cannot escape this new world. Posters and window displays offer smartcodes that invite us to connect with the Internet and learn more about whatever the sign is promoting. Always on, complete with sound, are television screens in airports, restaurants and the array of imaging devices that bring us news, sports, entertainment, whatever. Given the state of the “image” today, critical examination of channels of media and communication are needed. Imagery in the 21st Century, edited by Oliver Grau with Thomas Veigl, presents a number of perspectives on this theme, highlighting the inroads of media into art and science. It is a valuable contribution to the topic. http://leonardo.info/reviews/apr2012/grau-ione.php# -- 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] Gifsicle
Gifsicle: command-line tool for creating, editing, getting info about GIF images and animations http://www.lcdf.org/gifsicle/# ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
[NetBehaviour] Call for projects: VIDA 14.0 Art and Artificial Life International Awards
VIDA, the Art and Artificial Life International Awards begun in 1999 by Fundación Telefónica, was created with the mission of supporting creative endeavours in this singular field by rewarding the pioneering efforts of artists. We are now pleased to announce the launch of the VIDA 14.0, which for the last 14 years have been rewarding artistic projects developed with technological media that offer innovative insights into the study of artificial life. At a time when the concept of life finds itself once again in uncharted territory, a wide range of artistic initiatives attempt to illustrate and explore this phenomenon, examining its impact on our collective consciousness and how it affects the cultural, technological and social mindset. Over the past decade, VIDA has welcomed a variety of interdisciplinary projects that respond to this situation and brought them together in a single forum. Using formal strategies that push the boundaries between existing practices, these projects offer new perspectives that force us to reconsider our pre-existing notions of life and artificial life. What types of projects receive a VIDA 14.0? The VIDA Award is granted to artistic creations developed using artificial life technology. Among the projects submitted to VIDA, the artists’ ties to this theme and their choice of media are very diverse. Throughout its history, the competition has welcomed proposals that challenge the boundary between living and non-living, between natural and synthetic, either by juxtaposing both realities or by creating overlapping spaces for reflection. The winning projects include robotic systems, immersive installations, online video games, autonomous self-organising devices and evolutionary indicators. Another common characteristic of past winners is the use of interactive and immersive installations—a response to today’s environment of technological entities—which attempt to communicate with visitors by making them part of the system. Chimerical devices that combine natural and artificial elements, telepresence systems, network structures that operate as artificial intelligences, invasive dynamics of increasing complexity and acumen—these are just some of the themes addressed by the artists who participate in VIDA. From the very first edition to the present day, we have rewarded artists who have applied traditional artificial life technologies to their work, such as cellular automata, autonomous agents, neural networks, robotics, interactive systems, virtual ecologies and evolving software. What all of these projects have in common is that they involve emergent behaviours which grow more sophisticated over time, react with their environment and seem to show signs of autonomous life. In recent years we have observed an increasing hybridisation of media and formats among the projects submitted to VIDA, which has led us to advocate the category’s expansion in order to trace the evolution of this field. The competition has gradually extended its scope, maintaining its interest in projects that involve conventional artificial life research while also venturing into new, cutting-edge territories such as life sciences and environmental sciences. In short, we could say that VIDA rewards artistic projects that are related to any dynamic life process affected by simulation. As in previous years, contestants are invited to submit proposals in one of two categories: CATEGORY “FINALISED PROJECTS” In this category, Vida 14.0 rewards artistic artificial life projects developed after the year 2010. A total of 40,000 euros will be divided among the three winning projects chosen by the jury: First Prize: 18,000 euros; Second Prize: 14,000 euros; Third Prize: 8,000 euros. Seven honorary mentions will also be awarded to projects chosen by the jury from among the finalists. CATEGORY “INCENTIVES FOR PRODUCTION In this category, Vida 14.0 helps to finance artistic artificial life projects that have not yet been produced. It is reserved for artists who are citizens or residents of any country in Latin America, Spain or Portugal. This category is also endowed with 40,000 euros to be divided among the selected projects. IMPORTANT DATES Project submissions will be accepted from 23rd April to 30th July 2012. All projects must be submitted before midnight (Central European Time) on 30th July 2012. JURY Submitted projects will be reviewed by an international jury consisting of Mónica Bello (Spain), Jens Hauser (France), Martin Kaltenbrunner (Austria), Karla Jasso (Mexico), Sally Jane Norman (New Zealand/France), Nell Tenhaaf (Canada) and Francisco Serrano, Executive Director of Fundación Telefónica. INFORMATION AND QUERIES You can find the competition guidelines and the participation form at http://www.fundacion.telefonica.com/vida If you have any questions about the competition, please refer to the FAQ section. You may also contact us by sending an email to
[NetBehaviour] Berlin April 27th: Artist Talk: John Duncan and Carl MIchael von Hausswolff
With apologies for cross-posting *A conversation with artists and composers John Duncan and Carl Michael von Hausswolff * Friday, April 27th at 7 pm Liebigstrasse 12 Berlin - Friedrichshain John Duncan and Carl Michael von Hausswolff will be presenting a selection of their video works followed by a discussion with the audience. Screenings: *ELECTRA, TEXAS 2008 * Carl Michael von Hausswolff and Thomas Nordanstad - 24:44 min. Electra is a small, sleepy town with an almost deserted town center, yet around it the pumpjacks are bringing up the last remaining drops of black gold in the area. The procedure is the same as in the heydays, before the depression, when more than 5000 wells and pumpjacks going up and down could be seen in the fields. Shot in the north of Texas close to the Red River, in a long, panoramic shots and edited with a slow, bluesy soundtrack, Electra, Texas 2008, completes a cycle of three individual films “Hashima, Japan, 2002” and “Al Qasr, Bahriyah Oasis, Egypt 2005”, result of the collaboration between the artist Carl Michael von Hausswolff and the filmmaker Thomas Nordanstad. Over the last decade von Hausswolff and Nordanstad have been collaborating on a series of films documenting post industrial locations, places that were once looked upon as glorious examples of mans ability to develop earths natural recourses. Today these same sites appear as ghost towns, exploited and drained of the wealth that once surrounded them. We believe that there is a beauty in just watching life take place. We try to let the time in the scenes we shoot act as a metaphor for time passing also in the viewers contemplation, and we hope to make these kind of “documentary films” as tributes to the people who were and still are creating these societies. CM von Hausswolff *THE GARDEN * John Duncan and Valerio Tricoli 2006 - 20 min. Produced by John Duncan The Garden is based on the audio installation with Valerio Tricoli which was included in the 2006 edition of Eco e Narciso held at the IPCA Ecomuseum in the province of Turin, a deserted factory complex once infamous for production methods that directly caused the deaths of several thousand workers as well as hundreds of residents of the surrounding area. The town of Cirié acquired the ex IPCA Interchim site and undertook the difficult task of reclaiming and reconstructing the area, without however obliterating the historical memory of the site. On the contrary, steps where taken to ensure that it was turned into a place for remembrance, admonition and monitoring, in order to never let people go to work unaware of going daily towards their deaths. *DREAM HOUSE -- RAGE ROOM* John Duncan 2010 - 12:54 min. Produced by Gallery Niklas Belenius Making-of video for the installation shown at Gallery Niklas Belenius, Stockholm. RAGE ROOM, part of the DREAM HOUSE, is designed to embody or evoke a particular state of consciousness, set in an area of the building that corresponds to its known or suspected location in the brain. *Carl Michael von Hausswolff *was born in 1956 in Linköping, Sweden. He lives and works in Stockholm. Since the end of the 1970s, Hausswolff has worked as a composer using the tape recorder as his main instrument and as a conceptual visual artist working with performance art, light- and sound installations and photography. He has shown work in the biennials of Venice, Moscow, Istanbul, Santa Fe and Liverpool as well as in other places. His music has been performed at festivals such as Sonar, Ars Electronica and Stockholm Electronic Music Festival and has been released on by labels such as Ash International, Errant Bodies, Laton and RasterNoton. He is the curator of FREQ_OUT which has been shown in Paris, Berlin, Copenhagen, Chiangmai, Oslo, Budapest and Kortrijk. He is a long time collaborator with Leif Elggren on the project Elgaland-Vargaland. cmvonhausswolff.net *John Duncan* was born in the United States, currently lives and works in Bologna. His studio releases THE CRACKLING (1996 with Max Springer), TAP INTERNAL (2000), PALACE OF MIND (2001 with Giuliana Stefani), FRESH (2002 with Zeitkratzer), THE KEENING TOWERS (2003), PHANTOM BROADCAST (2004) and NINE SUGGESTIONS (2005 with Mika Vainio and Ilpo Väisänen) are all considered by critics and composers alike to be benchmarks in the field of experimental sounds and contemporary music. John Duncan portrays his work as a catalyst, inciting a transmission of energy through which he seeks to compel the audience to actively participate in the process of investigation and self-discovery. His lengthy career of electroacoustic intensity and confrontational performance art events is the result of rigorous investigations into a number of arcane, metaphysical, and at times transgressive themes. johnduncan.org liebig12.wordpress.com ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org
[NetBehaviour] TOYBOX at TROVE - call out for toys and short films based on toys
TROVE call out for toys and short films based on toys DEADLINE 6th May 2012 Exhibition dates 15th – 23rd June 2012 --- TROVE is an independent art space in Birmingham, UK, which run a monthly changing programme of contemporary art exhibitions/events. http://trove.org.uk In June 2012 TROVE, with Antonio Roberts, are hosting an exhibition about toys. This project leads on from the discovery that the Jewellery Quarter, Birmingham, where TROVE is based, used to produce more ‘toys’ than jewellery, guns or pens; all things it is now more famously known for producing. When researching what toys were produced in this area of Birmingham it was discovered that the term ‘toys’ was used to describe items such as buttons, cuff-links and belt buckles. With the misinterpretation of the word ‘toys’ TROVE are looking for films about actual toys, as is the current understanding of the word, that have been altered, hacked, modified or electronically changed, rather than ‘toys’ meaning belt buckles, buttons etc. TROVE call out for toys TROVE are inviting you to submit examples of your modified toys to: anto...@hellocatfood.com Please email Antonio and include: * your CV and a short personal statement * a short description of the work/toys * links to online footage of the toy is available * max 6 photographs of the toy/s you are proposing Notes for application: * please make sure you can deliver and collect your toys from TROVE; 11th/12th June for drop off and 24th June for collection. * we will only be accepting applications where toys are battery powered For further info please contact Antonio on the above email address. TROVE call out for short films based on toys TROVE are inviting you to submit examples of films based on the theme of toys to: i...@trove.org.uk Please email TROVE and include: * your CV and a short personal statement * a short description of the film/s * links to online footage of the toy if available * max 6 photographs of the toy/s you are proposing Notes for application: * please make sure your films is 10 minutes long or less * we will be screening more than one film at a time so we will not be exhibiting films that rely on sound * the films need to be available during June 2012 For further info please contact TROVE on the above email address. -- anto...@hellocatfood.com http://www.hellocatfood.com ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
[NetBehaviour] Call for projects: VIDA 14.0 Art and Artificial Life International Awards
*VIDA, the Art and Artificial Life International Awards*begun in 1999 by Fundación Telefónica, was created with the mission of supporting creative endeavours in this singular field by rewarding the pioneering efforts of artists. We are now pleased to announce the launch of the *VIDA 14.0*, which for the last 14 years have been rewarding artistic projects developed with technological media that offer innovative insights into the study of artificial life. At a time when the concept of life finds itself once again in uncharted territory, a wide range of artistic initiatives attempt to illustrate and explore this phenomenon, examining its impact on our collective consciousness and how it affects the cultural, technological and social mindset. Over the past decade, VIDA has welcomed a variety of interdisciplinary projects that respond to this situation and brought them together in a single forum. Using formal strategies that push the boundaries between existing practices, these projects offer new perspectives that force us to reconsider our pre-existing notions of life and artificial life. *What types of projects receive a VIDA 14.0? * The VIDA Award is granted to artistic creations developed using artificial life technology. Among the projects submitted to VIDA, the artists’ ties to this theme and their choice of media are very diverse. Throughout its history, the competition has welcomed proposals that challenge the boundary between living and non-living, between natural and synthetic, either by juxtaposing both realities or by creating overlapping spaces for reflection. The winning projects include robotic systems, immersive installations, online video games, autonomous self-organising devices and evolutionary indicators. Another common characteristic of past winners is the use of interactive and immersive installations—a response to today’s environment of technological entities—which attempt to communicate with visitors by making them part of the system. Chimerical devices that combine natural and artificial elements, telepresence systems, network structures that operate as artificial intelligences, invasive dynamics of increasing complexity and acumen—these are just some of the themes addressed by the artists who participate in VIDA. From the very first edition to the present day, we have rewarded artists who have applied traditional artificial life technologies to their work, such as cellular automata, autonomous agents, neural networks, robotics, interactive systems, virtual ecologies and evolving software. What all of these projects have in common is that they involve emergent behaviours which grow more sophisticated over time, react with their environment and seem to show signs of autonomous life. In recent years we have observed an increasing hybridisation of media and formats among the projects submitted to VIDA, which has led us to advocate the category’s expansion in order to trace the evolution of this field. The competition has gradually extended its scope, maintaining its interest in projects that involve conventional artificial life research while also venturing into new, cutting-edge territories such as life sciences and environmental sciences. In short, we could say that VIDA rewards artistic projects that are related to any dynamic life process affected by simulation. *As in previous years, contestants are invited to submit proposals in one of two categories:* CATEGORY “FINALISED PROJECTS” In this category, Vida 14.0 rewards artistic artificial life projects developed after the year 2010. A total of *40,000 euros*will be divided among the three winning projects chosen by the jury: *First Prize: 18,000 euros; Second Prize: 14,000 euros; Third Prize: 8,000 euros*. Seven honorary mentions will also be awarded to projects chosen by the jury from among the finalists. *CATEGORY “INCENTIVES FOR PRODUCTION* In this category, Vida 14.0 helps to finance artistic artificial life projects that have not yet been produced.It is reserved for artists who are citizens or residents of any country in *Latin America, Spain or Portugal*. This category is also endowed with *40,000 euros*to be divided among the selected projects. IMPORTANT DATES Project submissions will be accepted from *23*^*rd* *April to 30*^*th* *July 2012*. All projects must be submitted before midnight (Central European Time) on 30th July 2012. JURY Submitted projects will be reviewed by an international jury consisting of *Mónica Bello*(Spain), *Jens Hauser*(France),*Martin Kaltenbrunner *(Austria), *Karla Jasso*(Mexico), *Sally Jane Norman*(New Zealand/France), *Nell Tenhaaf*(Canada) and *Francisco Serrano*, Executive Director of Fundación Telefónica. INFORMATION AND QUERIES You can find the competition guidelines and the participation form at http://www.fundacion.telefonica.com/vida If you have any questions about the competition, please refer to the FAQ section.
[NetBehaviour] Fwd: BMW Tate Live Performance Room: Pablo Bronstein's Constantinople Kaleidoscope
has anyone else had a look at this? i'm a bit stunned that they are describing what sounds like webcasting slightly augmented by social media as an entirely new mode of presentation ... on their web site, they even claim it as the first artistic programme created purely for live web broadcast. where have they been for the last 15+ years i wonder??? Original Message Subject: BMW Tate Live Performance Room: Pablo Bronstein's Constantinople Kaleidoscope Date: Sun, 22 Apr 2012 12:00:11 -0400 From: e-flux i...@mailer.e-flux.com Reply-To: i...@mailer.e-flux.com To: pa...@blindditch.org ef_bw_block.gif April 22, 2012 ef_logo_big.gif http://interspire.e-flux.com/link.php?M=230532N=2554L=2F=H ef_dashed_line.gif Tate Modern apr22_tatemoern.jpg http://interspire.e-flux.com/link.php?M=230532N=2554L=5057F=H *BMW Tate Live Performance Room: * *Pablo Bronstein /Constantinople Kaleidoscope/ * Online at www.youtube.com/tate http://interspire.e-flux.com/link.php?M=230532N=2554L=5057F=H on Thursday 26 April at 20:00 BST * * ef_dashed_line Share thisShare this on Facebook http://interspire.e-flux.com/link.php?M=230532N=2554L=2685F=HShare this on Twitter http://interspire.e-flux.com/link.php?M=230532N=2554L=2684F=H BMW Tate Live Performance Room is a pioneering programme of live performances created exclusively for online broadcast, simultaneously reaching international audiences across world time zones. For the second performance in the BMW Tate Live Performance Room, Argentinean born artist Pablo Bronstein will premiere, /Constantinople Kaleidoscope/, an entirely new work made especially for the BMW Tate Live Performance Room. Involving a group of dancers, Bronstein will create a baroque trompe l'oeil stage set that exaggerates the perspective of the room with mirrored columns. Bronstein uses architectural design and drawing to engage with the grandiose and imperial past of the built environment and this preoccupation with form frequently extends into his live work. Audiences, who will only be able to view the performances on the internet, are invited to enter the online Performance Room via www.youtube.com/tate http://interspire.e-flux.com/link.php?M=230532N=2554L=5063F=H at 20.00 hrs in the UK and exactly the same moment across time zones on the specified dates—16.00 hrs on the East Coast of America, 21.00 hrs in mainline Europe and 23.00 hrs in Russia. The global audience are encouraged to chat with other viewers via social media channels and to put questions to the artists or curator following it using Tate's social media channels—twitter.com/tate http://interspire.e-flux.com/link.php?M=230532N=2554L=5058F=H using #BMWTateLiveQ and facebook.com/tategallery http://interspire.e-flux.com/link.php?M=230532N=2554L=5060F=H. The BMW Tate Live Performance Room was inaugurated by French choreographer and dancer Jérôme Bel with the work /Shirtology@Tate /on 22 March/. /Artists Emily Roysdon http://interspire.e-flux.com/link.php?M=230532N=2554L=5062F=H, Harrell Fletcher http://interspire.e-flux.com/link.php?M=230532N=2554L=5059F=H and Joan Jonas http://interspire.e-flux.com/link.php?M=230532N=2554L=5061F=H will also present works for the BMW Tate Live Performance Room in the coming months. On Thursday 31 May, American artist and writer, Emily Roysdon, explores the intersection of choreography and political action through a collaborative performance. Harrell Fletcher's work often takes the form of socially engaged and interdisciplinary projects. On Thursday 28 June, for BMW Tate Live, he will work with local amateur performers who ordinarily would not be seen by the Performance Room's global audience. The final BMW Tate Live Performance Room in 2012 is by legendary performance artist, Joan Jonas.**Since the 1960s, she has been a major figure at the forefront of explorations in film, new media and performance, transcending genres to develop an influential practice rooted in space, movement, ritual and gesture. This innovative format offers international audiences an opportunity to experience performance works through an entirely new mode of presentation. Each performance is archived and available to view online after the live event. /BMW Tate Live is a four-year partnership between BMW and Tate, which focuses on performance, interdisciplinary art and curating digital space. BMW Tate Live: Performance Room is the inaugural strand of the partnership and features five commissions in 2012./ /BMW Tate Live is curated by Catherine Wood, Curator, Contemporary Art and Performance, Tate, and Kathy Noble, Curator of Interdisciplinary Projects, Tate, assisted by Capucine Perrot, Assistant Curator, Tate and Julia Crabtree. /*BMW Tate Live Performance Room **Forthcoming performances at 20.00 hrs BST *26 April, BMW Tate Live Performance Room: Pablo
Re: [NetBehaviour] Fwd: BMW Tate Live Performance Room: Pablo Bronstein's Constantinople Kaleidoscope
The description sounds a bit like the Chaos in Action project in 1997. On Mon, Apr 23, 2012 at 12:09 PM, helen varley jamieson he...@creative-catalyst.com wrote: has anyone else had a look at this? i'm a bit stunned that they are describing what sounds like webcasting slightly augmented by social media as an entirely new mode of presentation ... on their web site, they even claim it as the first artistic programme created purely for live web broadcast. where have they been for the last 15+ years i wonder??? Original Message Subject: BMW Tate Live Performance Room: Pablo Bronstein's Constantinople Kaleidoscope Date: Sun, 22 Apr 2012 12:00:11 -0400 From: e-flux i...@mailer.e-flux.comi...@mailer.e-flux.com Reply-To: i...@mailer.e-flux.com To: pa...@blindditch.org [image: ef_bw_block.gif] April 22, 2012 [image: ef_logo_big.gif]http://interspire.e-flux.com/link.php?M=230532N=2554L=2F=H [image: ef_dashed_line.gif] Tate Modern [image: apr22_tatemoern.jpg]http://interspire.e-flux.com/link.php?M=230532N=2554L=5057F=H *BMW Tate Live Performance Room: * *Pablo Bronstein Constantinople Kaleidoscope * Online at www.youtube.com/tatehttp://interspire.e-flux.com/link.php?M=230532N=2554L=5057F=Hon Thursday 26 April at 20:00 BST * * [image: ef_dashed_line] Share this[image: Share this on Facebook]http://interspire.e-flux.com/link.php?M=230532N=2554L=2685F=H[image: Share this on Twitter]http://interspire.e-flux.com/link.php?M=230532N=2554L=2684F=H BMW Tate Live Performance Room is a pioneering programme of live performances created exclusively for online broadcast, simultaneously reaching international audiences across world time zones. For the second performance in the BMW Tate Live Performance Room, Argentinean born artist Pablo Bronstein will premiere, *Constantinople Kaleidoscope*, an entirely new work made especially for the BMW Tate Live Performance Room. Involving a group of dancers, Bronstein will create a baroque trompe l'oeil stage set that exaggerates the perspective of the room with mirrored columns. Bronstein uses architectural design and drawing to engage with the grandiose and imperial past of the built environment and this preoccupation with form frequently extends into his live work. Audiences, who will only be able to view the performances on the internet, are invited to enter the online Performance Room via www.youtube.com/tatehttp://interspire.e-flux.com/link.php?M=230532N=2554L=5063F=Hat 20.00 hrs in the UK and exactly the same moment across time zones on the specified dates—16.00 hrs on the East Coast of America, 21.00 hrs in mainline Europe and 23.00 hrs in Russia. The global audience are encouraged to chat with other viewers via social media channels and to put questions to the artists or curator following it using Tate's social media channels—twitter.com/tatehttp://interspire.e-flux.com/link.php?M=230532N=2554L=5058F=Husing #BMWTateLiveQ and facebook.com/tategalleryhttp://interspire.e-flux.com/link.php?M=230532N=2554L=5060F=H . The BMW Tate Live Performance Room was inaugurated by French choreographer and dancer Jérôme Bel with the work *Shirtology@Tate *on 22 March*. *Artists Emily Roysdonhttp://interspire.e-flux.com/link.php?M=230532N=2554L=5062F=H , Harrell Fletcherhttp://interspire.e-flux.com/link.php?M=230532N=2554L=5059F=Hand Joan Jonas http://interspire.e-flux.com/link.php?M=230532N=2554L=5061F=Hwill also present works for the BMW Tate Live Performance Room in the coming months. On Thursday 31 May, American artist and writer, Emily Roysdon, explores the intersection of choreography and political action through a collaborative performance. Harrell Fletcher's work often takes the form of socially engaged and interdisciplinary projects. On Thursday 28 June, for BMW Tate Live, he will work with local amateur performers who ordinarily would not be seen by the Performance Room's global audience. The final BMW Tate Live Performance Room in 2012 is by legendary performance artist, Joan Jonas.* *Since the 1960s, she has been a major figure at the forefront of explorations in film, new media and performance, transcending genres to develop an influential practice rooted in space, movement, ritual and gesture. This innovative format offers international audiences an opportunity to experience performance works through an entirely new mode of presentation. Each performance is archived and available to view online after the live event. *BMW Tate Live is a four-year partnership between BMW and Tate, which focuses on performance, interdisciplinary art and curating digital space. BMW Tate Live: Performance Room is the inaugural strand of the partnership and features five commissions in 2012.* *BMW Tate Live is curated by Catherine Wood, Curator, Contemporary Art and Performance, Tate, and Kathy Noble, Curator of Interdisciplinary Projects,
Re: [NetBehaviour] Fwd: BMW Tate Live Performance Room: Pablo Bronstein's Constantinople Kaleidoscope
http://www.eto.org.uk/etd/media/releases/pr009.htm On Mon, Apr 23, 2012 at 12:13 PM, Pall Thayer pallt...@gmail.com wrote: The description sounds a bit like the Chaos in Action project in 1997. On Mon, Apr 23, 2012 at 12:09 PM, helen varley jamieson he...@creative-catalyst.com wrote: has anyone else had a look at this? i'm a bit stunned that they are describing what sounds like webcasting slightly augmented by social media as an entirely new mode of presentation ... on their web site, they even claim it as the first artistic programme created purely for live web broadcast. where have they been for the last 15+ years i wonder??? Original Message Subject: BMW Tate Live Performance Room: Pablo Bronstein's Constantinople Kaleidoscope Date: Sun, 22 Apr 2012 12:00:11 -0400 From: e-flux i...@mailer.e-flux.comi...@mailer.e-flux.com Reply-To: i...@mailer.e-flux.com To: pa...@blindditch.org [image: ef_bw_block.gif] April 22, 2012 [image: ef_logo_big.gif]http://interspire.e-flux.com/link.php?M=230532N=2554L=2F=H [image: ef_dashed_line.gif] Tate Modern [image: apr22_tatemoern.jpg]http://interspire.e-flux.com/link.php?M=230532N=2554L=5057F=H *BMW Tate Live Performance Room: * *Pablo Bronstein Constantinople Kaleidoscope * Online at www.youtube.com/tatehttp://interspire.e-flux.com/link.php?M=230532N=2554L=5057F=Hon Thursday 26 April at 20:00 BST * * [image: ef_dashed_line] Share this[image: Share this on Facebook]http://interspire.e-flux.com/link.php?M=230532N=2554L=2685F=H[image: Share this on Twitter]http://interspire.e-flux.com/link.php?M=230532N=2554L=2684F=H BMW Tate Live Performance Room is a pioneering programme of live performances created exclusively for online broadcast, simultaneously reaching international audiences across world time zones. For the second performance in the BMW Tate Live Performance Room, Argentinean born artist Pablo Bronstein will premiere, *Constantinople Kaleidoscope*, an entirely new work made especially for the BMW Tate Live Performance Room. Involving a group of dancers, Bronstein will create a baroque trompe l'oeil stage set that exaggerates the perspective of the room with mirrored columns. Bronstein uses architectural design and drawing to engage with the grandiose and imperial past of the built environment and this preoccupation with form frequently extends into his live work. Audiences, who will only be able to view the performances on the internet, are invited to enter the online Performance Room via www.youtube.com/tatehttp://interspire.e-flux.com/link.php?M=230532N=2554L=5063F=Hat 20.00 hrs in the UK and exactly the same moment across time zones on the specified dates—16.00 hrs on the East Coast of America, 21.00 hrs in mainline Europe and 23.00 hrs in Russia. The global audience are encouraged to chat with other viewers via social media channels and to put questions to the artists or curator following it using Tate's social media channels—twitter.com/tatehttp://interspire.e-flux.com/link.php?M=230532N=2554L=5058F=Husing #BMWTateLiveQ and facebook.com/tategalleryhttp://interspire.e-flux.com/link.php?M=230532N=2554L=5060F=H . The BMW Tate Live Performance Room was inaugurated by French choreographer and dancer Jérôme Bel with the work *Shirtology@Tate *on 22 March*. *Artists Emily Roysdonhttp://interspire.e-flux.com/link.php?M=230532N=2554L=5062F=H , Harrell Fletcherhttp://interspire.e-flux.com/link.php?M=230532N=2554L=5059F=Hand Joan Jonas http://interspire.e-flux.com/link.php?M=230532N=2554L=5061F=Hwill also present works for the BMW Tate Live Performance Room in the coming months. On Thursday 31 May, American artist and writer, Emily Roysdon, explores the intersection of choreography and political action through a collaborative performance. Harrell Fletcher's work often takes the form of socially engaged and interdisciplinary projects. On Thursday 28 June, for BMW Tate Live, he will work with local amateur performers who ordinarily would not be seen by the Performance Room's global audience. The final BMW Tate Live Performance Room in 2012 is by legendary performance artist, Joan Jonas.* *Since the 1960s, she has been a major figure at the forefront of explorations in film, new media and performance, transcending genres to develop an influential practice rooted in space, movement, ritual and gesture. This innovative format offers international audiences an opportunity to experience performance works through an entirely new mode of presentation. Each performance is archived and available to view online after the live event. *BMW Tate Live is a four-year partnership between BMW and Tate, which focuses on performance, interdisciplinary art and curating digital space. BMW Tate Live: Performance Room is the inaugural strand of the partnership and features five commissions in 2012.* *BMW Tate Live is curated by
Re: [NetBehaviour] Fwd: BMW Tate Live Performance Room: Pablo Bronstein's Constantinople Kaleidoscope
this is the time, these are the years: everyone inventing words and saying the first this, the first that we're losing our memories, now it can be done. and, in the age of p2p, of ubiquitous and of anonymous, gimme a good budget for communication and i will reinvent history itself! xDxD.vs.xDxD On Mon, Apr 23, 2012 at 6:13 PM, Pall Thayer pallt...@gmail.com wrote: The description sounds a bit like the Chaos in Action project in 1997. On Mon, Apr 23, 2012 at 12:09 PM, helen varley jamieson he...@creative-catalyst.com wrote: has anyone else had a look at this? i'm a bit stunned that they are describing what sounds like webcasting slightly augmented by social media as an entirely new mode of presentation ... on their web site, they even claim it as the first artistic programme created purely for live web broadcast. where have they been for the last 15+ years i wonder??? Original Message Subject: BMW Tate Live Performance Room: Pablo Bronstein's Constantinople Kaleidoscope Date: Sun, 22 Apr 2012 12:00:11 -0400 From: e-flux i...@mailer.e-flux.comi...@mailer.e-flux.com Reply-To: i...@mailer.e-flux.com To: pa...@blindditch.org [image: ef_bw_block.gif] April 22, 2012 [image: ef_logo_big.gif]http://interspire.e-flux.com/link.php?M=230532N=2554L=2F=H [image: ef_dashed_line.gif] Tate Modern [image: apr22_tatemoern.jpg]http://interspire.e-flux.com/link.php?M=230532N=2554L=5057F=H *BMW Tate Live Performance Room: * *Pablo Bronstein Constantinople Kaleidoscope * Online at www.youtube.com/tatehttp://interspire.e-flux.com/link.php?M=230532N=2554L=5057F=Hon Thursday 26 April at 20:00 BST * * [image: ef_dashed_line] Share this[image: Share this on Facebook]http://interspire.e-flux.com/link.php?M=230532N=2554L=2685F=H[image: Share this on Twitter]http://interspire.e-flux.com/link.php?M=230532N=2554L=2684F=H BMW Tate Live Performance Room is a pioneering programme of live performances created exclusively for online broadcast, simultaneously reaching international audiences across world time zones. For the second performance in the BMW Tate Live Performance Room, Argentinean born artist Pablo Bronstein will premiere, *Constantinople Kaleidoscope*, an entirely new work made especially for the BMW Tate Live Performance Room. Involving a group of dancers, Bronstein will create a baroque trompe l'oeil stage set that exaggerates the perspective of the room with mirrored columns. Bronstein uses architectural design and drawing to engage with the grandiose and imperial past of the built environment and this preoccupation with form frequently extends into his live work. Audiences, who will only be able to view the performances on the internet, are invited to enter the online Performance Room via www.youtube.com/tatehttp://interspire.e-flux.com/link.php?M=230532N=2554L=5063F=Hat 20.00 hrs in the UK and exactly the same moment across time zones on the specified dates—16.00 hrs on the East Coast of America, 21.00 hrs in mainline Europe and 23.00 hrs in Russia. The global audience are encouraged to chat with other viewers via social media channels and to put questions to the artists or curator following it using Tate's social media channels—twitter.com/tatehttp://interspire.e-flux.com/link.php?M=230532N=2554L=5058F=Husing #BMWTateLiveQ and facebook.com/tategalleryhttp://interspire.e-flux.com/link.php?M=230532N=2554L=5060F=H . The BMW Tate Live Performance Room was inaugurated by French choreographer and dancer Jérôme Bel with the work *Shirtology@Tate *on 22 March*. *Artists Emily Roysdonhttp://interspire.e-flux.com/link.php?M=230532N=2554L=5062F=H , Harrell Fletcherhttp://interspire.e-flux.com/link.php?M=230532N=2554L=5059F=Hand Joan Jonas http://interspire.e-flux.com/link.php?M=230532N=2554L=5061F=Hwill also present works for the BMW Tate Live Performance Room in the coming months. On Thursday 31 May, American artist and writer, Emily Roysdon, explores the intersection of choreography and political action through a collaborative performance. Harrell Fletcher's work often takes the form of socially engaged and interdisciplinary projects. On Thursday 28 June, for BMW Tate Live, he will work with local amateur performers who ordinarily would not be seen by the Performance Room's global audience. The final BMW Tate Live Performance Room in 2012 is by legendary performance artist, Joan Jonas.* *Since the 1960s, she has been a major figure at the forefront of explorations in film, new media and performance, transcending genres to develop an influential practice rooted in space, movement, ritual and gesture. This innovative format offers international audiences an opportunity to experience performance works through an entirely new mode of presentation. Each performance is archived and available to view online after the live event. *BMW Tate Live is a four-year partnership
Re: [NetBehaviour] Fwd: BMW Tate Live Performance Room: Pablo Bronstein's Constantinople Kaleidoscope
The time of bullshit: when bullshitters and bullshit reigns supreme. Sent using BlackBerry® from Orange -Original Message- From: xDxD.vs.xDxD xdxd.vs.x...@gmail.com Sender: netbehaviour-boun...@netbehaviour.org Date: Mon, 23 Apr 2012 18:26:50 To: NetBehaviour for networked distributed creativitynetbehaviour@netbehaviour.org Reply-To: NetBehaviour for networked distributed creativity netbehaviour@netbehaviour.org Subject: Re: [NetBehaviour] Fwd: BMW Tate Live Performance Room: Pablo Bronstein's Constantinople Kaleidoscope ___ 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
Re: [NetBehaviour] Fwd: BMW Tate Live Performance Room: Pablo Bronstein's Constantinople Kaleidoscope
When BMW meets Tate, state capitalism and private capitalism and the institutional delay I'm feeling supersonic Give me gin and tonic You can have it all but how much do you want it? You make me laugh Give me your autograph Can I ride with you in your BMW? You can sail with me in my yellow submarine You need to find out 'Cos no one's gonna tell you what I'm on about You need to find a way for what you want to say But before tomorrow Date: Mon, 23 Apr 2012 18:09:04 +0200 From: he...@creative-catalyst.com To: netbehaviour@netbehaviour.org Subject: [NetBehaviour] Fwd: BMW Tate Live Performance Room: Pablo Bronstein's Constantinople Kaleidoscope has anyone else had a look at this? i'm a bit stunned that they are describing what sounds like webcasting slightly augmented by social media as an entirely new mode of presentation ... on their web site, they even claim it as the first artistic programme created purely for live web broadcast. where have they been for the last 15+ years i wonder??? Original Message Subject: BMW Tate Live Performance Room: Pablo Bronstein's Constantinople Kaleidoscope Date: Sun, 22 Apr 2012 12:00:11 -0400 From: e-flux i...@mailer.e-flux.com Reply-To: i...@mailer.e-flux.com To: pa...@blindditch.org April 22, 2012 Tate Modern BMW Tate Live Performance Room: Pablo Bronstein Constantinople Kaleidoscope Online at www.youtube.com/tate on Thursday 26 April at 20:00 BST Share this BMW Tate Live Performance Room is a pioneering programme of live performances created exclusively for online broadcast, simultaneously reaching international audiences across world time zones. For the second performance in the BMW Tate Live Performance Room, Argentinean born artist Pablo Bronstein will premiere, Constantinople Kaleidoscope, an entirely new work made especially for the BMW Tate Live Performance Room. Involving a group of dancers, Bronstein will create a baroque trompe l'oeil stage set that exaggerates the perspective of the room with mirrored columns. Bronstein uses architectural design and drawing to engage with the grandiose and imperial past of the built environment and this preoccupation with form frequently extends into his live work. Audiences, who will only be able to view the performances on the internet, are invited to enter the online Performance Room via www.youtube.com/tate at 20.00 hrs in the UK and exactly the same moment across time zones on the specified dates—16.00 hrs on the East Coast of America, 21.00 hrs in mainline Europe and 23.00 hrs in Russia. The global audience are encouraged to chat with other viewers via social media channels and to put questions to the artists or curator following it using Tate's social media channels—twitter.com/tate using #BMWTateLiveQ and facebook.com/tategallery. The BMW Tate Live Performance Room was inaugurated by French choreographer and dancer Jérôme Bel with the work Shirtology@Tate on 22 March. Artists Emily Roysdon, Harrell Fletcher and Joan Jonas will also present works for the BMW Tate Live Performance Room in the coming months. On Thursday 31 May, American artist and writer, Emily Roysdon, explores the intersection of choreography and political action through a collaborative performance. Harrell Fletcher's work often takes the form of socially engaged and
[NetBehaviour] Anonymous builds its own Pastebin-like site
Anonymous builds its own Pastebin-like site By Megan Geuss Hacker group Anonymous and the People's Liberation Front have created a data-sharing site called AnonPaste, meant to host pastes of code and other messages without any moderation or censorship of the information posted. The new site, which uses a free .tk web address, allows users to set a time for the paste to expire. It claims that data is encrypted and decrypted in the browser using 256 bit AES, so the server doesn't see any of the information included in the paste.The site says it's taking donations in the form of WePay or BitCoins. http://arstechnica.com/open-source/news/2012/04/anonymous-builds-its-own-pastebin-like-site.ars ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
Re: [NetBehaviour] Fwd: BMW Tate Live Performance Room: Pablo Bronstein's Constantinople Kaleidoscope
yep... hegemony, power ignorance wrapped in glossy bliss - combined... they should be ashamed of themselves. marc The time of bullshit: when bullshitters and bullshit reigns supreme. Sent using BlackBerry® from Orange -Original Message- From: xDxD.vs.xDxDxdxd.vs.x...@gmail.com Sender: netbehaviour-boun...@netbehaviour.org Date: Mon, 23 Apr 2012 18:26:50 To: NetBehaviour for networked distributed creativitynetbehaviour@netbehaviour.org Reply-To: NetBehaviour for networked distributed creativity netbehaviour@netbehaviour.org Subject: Re: [NetBehaviour] Fwd: BMW Tate Live Performance Room: Pablo Bronstein's Constantinople Kaleidoscope ___ 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 -- 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] Galloway: 10 Theses on the Digital
Galloway: 10 Theses on the Digital 5pm, Monday 14th May Room LG02 New Academic Building Goldsmiths, University of London Free, All Welcome Despite being the object of much discussion these days, the digital does not often appear in the writings of philosophers, except perhaps when it arrives unwittingly under the aegis of another name. The world of business consultancy has accepted it, as has the popular and folk culture, consumer society, telecommunications, medicine, the arts, and of course the spheres of industrial engineering and information processing (where it plays a special role). But is there an ontology of the digital, or even a philosophy of it? The goal of this project is not so much to answer such questions, but to draw up a map for what is necessary to answer them, something like a prolegomenon for future writing on digitality and philosophy. What is the digital exactly? The digital means the one dividing into two. Its heart lies in metaphysics, and adjacent philosophical systems, most importantly dialectics. By comparison, the analogue means the two coming together as one. It is found in theories of immanence: either the immanence of the total plane of being, or the immanence of the individual person or object. Either immanence in its infinity, or immanence in its finitude. The goal, then, is not so much to produce a “philosophy of the digital” or even a “digitization of philosophy.” Rather we will explore how digitality and philosophy come together, as two modal conditions. They exist both in parallel as they diverge and differentiate themselves, but also in series as they merge and intermediate. So this project will, if it is successful, pay attention to the conceptual requirements of the digital (and by contrast the analogue) and the strictures and affordances it grants to philosophy. For directions: http://www.gold.ac.uk/find-us/ Organised by Centre for Cultural Studies http://www.gold.ac.uk/cultural-studies/ and the Department of Media and Communications http://www.gold.ac.uk/media-communications/ -- 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
Re: [NetBehaviour] Fwd: BMW Tate Live Performance Room: Pablo Bronstein's Constantinople Kaleidoscope
Where have they been for the last fifteen years? They have been in Bryant Park, Up the fundament of New York Fashion Week, selling cars.. On 23 Apr 2012, at 18:34, Eduardo Valle wrote: When BMW meets Tate, state capitalism and private capitalism and the institutional delay I'm feeling supersonic Give me gin and tonic You can have it all but how much do you want it? You make me laugh Give me your autograph Can I ride with you in your BMW? You can sail with me in my yellow submarine You need to find out 'Cos no one's gonna tell you what I'm on about You need to find a way for what you want to say But before tomorrow Date: Mon, 23 Apr 2012 18:09:04 +0200 From: he...@creative-catalyst.com To: netbehaviour@netbehaviour.org Subject: [NetBehaviour] Fwd: BMW Tate Live Performance Room: Pablo Bronstein's Constantinople Kaleidoscope has anyone else had a look at this? i'm a bit stunned that they are describing what sounds like webcasting slightly augmented by social media as an entirely new mode of presentation ... on their web site, they even claim it as the first artistic programme created purely for live web broadcast. where have they been for the last 15+ years i wonder??? Original Message Subject: BMW Tate Live Performance Room: Pablo Bronstein's Constantinople Kaleidoscope Date: Sun, 22 Apr 2012 12:00:11 -0400 From: e-flux i...@mailer.e-flux.com Reply-To: i...@mailer.e-flux.com To: pa...@blindditch.org April 22, 2012 Tate Modern BMW Tate Live Performance Room: Pablo Bronstein Constantinople Kaleidoscope Online at www.youtube.com/tate on Thursday 26 April at 20:00 BST Share this BMW Tate Live Performance Room is a pioneering programme of live performances created exclusively for online broadcast, simultaneously reaching international audiences across world time zones. For the second performance in the BMW Tate Live Performance Room, Argentinean born artist Pablo Bronstein will premiere, Constantinople Kaleidoscope, an entirely new work made especially for the BMW Tate Live Performance Room. Involving a group of dancers, Bronstein will create a baroque trompe l'oeil stage set that exaggerates the perspective of the room with mirrored columns. Bronstein uses architectural design and drawing to engage with the grandiose and imperial past of the built environment and this preoccupation with form frequently extends into his live work. Audiences, who will only be able to view the performances on the internet, are invited to enter the online Performance Room via www.youtube.com/tate at 20.00 hrs in the UK and exactly the same moment across time zones on the specified dates—16.00 hrs on the East Coast of America, 21.00 hrs in mainline Europe and 23.00 hrs in Russia. The global audience are encouraged to chat with other viewers via social media channels and to put questions to the artists or curator following it using Tate's social media channels—twitter.com/ tate using #BMWTateLiveQ and facebook.com/tategallery. The BMW Tate Live Performance Room was inaugurated by French choreographer and dancer Jérôme Bel with the work Shirtology@Tate on 22 March. Artists Emily Roysdon, Harrell Fletcher and Joan Jonas will also present works for the BMW Tate Live Performance Room in the coming months. On Thursday 31 May, American artist and writer, Emily Roysdon, explores the intersection of choreography and political action through a collaborative performance. Harrell Fletcher's work often takes the form of socially engaged and interdisciplinary projects. On Thursday 28 June, for BMW Tate Live, he will work with local amateur performers who ordinarily would not be seen by the Performance Room's global audience. The final BMW Tate Live Performance Room in 2012 is by legendary performance artist, Joan Jonas. Since the 1960s, she has been a major figure at the forefront of explorations in film, new media and performance, transcending genres to develop an influential practice rooted in space, movement, ritual and gesture. This innovative format offers international audiences an opportunity to experience performance works through an entirely new mode of presentation. Each performance is archived and available to view online after the live event. BMW Tate Live is a four-year partnership between BMW and Tate, which focuses on performance, interdisciplinary art and curating digital space. BMW Tate Live: Performance Room is the inaugural strand of the partnership and features five commissions in 2012. BMW Tate Live is curated by Catherine Wood, Curator, Contemporary Art and Performance, Tate, and Kathy Noble, Curator of Interdisciplinary Projects, Tate, assisted by Capucine Perrot, Assistant Curator, Tate and Julia Crabtree. BMW Tate Live Performance Room Forthcoming performances at 20.00 hrs BST 26 April, BMW Tate Live Performance Room: Pablo
[NetBehaviour] 0-Day Art: saving digital art one torrent at a time
0-Day Art: saving digital art one torrent at a time Net pirate provocateurs challenge the monetization of online works By Joshua Kopstein. With online storefronts dominating the mobile market, it’s safe to assume that most people who own digital devices have some experience with the concept of micropayments. But now that we’ve grown accustomed to the idea of shelling out tiny nuggets of tribute for things like apps, games and music, are we willing to do the same for art? Art Micro Patronage is hoping for the best. The website, an online gallery experimenting with new methods of monetizing artwork that uses the internet as a medium, recently launched C.R.E.A.M., its last in a series of online exhibitions of animated GIFs, web pages and other net-based artwork that asks visitors to contribute small amounts to individual works. In doing so, patrons are granted access to them after the exhibition “ends” and the works are removed from public viewing. 0-Day Art, a warez release group for internet art, has other ideas. On the day of the exhibit’s premiere, the group released a torrent enabling all of the featured works, including all those from previous Art Micro Patronage exhibits, to be downloaded for free. It wasn’t the first time: the torrented exhibits were part of the group’s ongoing efforts to “put net art back on the net,” a mission that mixes old-school software pirate sensibilities with an underlying drive to preserve digital works for the general public, even if that means wresting control of those works from the artists themselves. http://www.theverge.com/2012/4/23/2961601/0-day-art-digital-art-torrents-piracy# -- 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
Re: [NetBehaviour] Anonymous builds its own Pastebin-like site
On 04/23/2012 06:40 PM, marc garrett wrote: Hacker group Anonymous and the People's Liberation Front have created a data-sharing site called AnonPaste, This goes against the Cute Cat Theory - http://www.ethanzuckerman.com/blog/2008/03/08/the-cute-cat-theory-talk-at-etech/ The wisdom of which can be demonstrated by the (still shocking) seizure of one of RiseUp's servers: https://help.riseup.net/en/seizure-2012-april Making a stand is good. Honeypots are bad. - Rob. ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
Re: [NetBehaviour] Fwd: BMW Tate Live Performance Room: Pablo Bronstein's Constantinople Kaleidoscope
thanks, it looks like an interesting project :) i'm going to have a look at the event on thursday night see just how groundbreaking it is ... On 23/04/12 6:14 PM, Pall Thayer wrote: http://www.eto.org.uk/etd/media/releases/pr009.htm On Mon, Apr 23, 2012 at 12:13 PM, Pall Thayer pallt...@gmail.com mailto:pallt...@gmail.com wrote: The description sounds a bit like the Chaos in Action project in 1997. On Mon, Apr 23, 2012 at 12:09 PM, helen varley jamieson he...@creative-catalyst.com mailto:he...@creative-catalyst.com wrote: has anyone else had a look at this? i'm a bit stunned that they are describing what sounds like webcasting slightly augmented by social media as an entirely new mode of presentation ... on their web site, they even claim it as the first artistic programme created purely for live web broadcast. where have they been for the last 15+ years i wonder??? -- 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
Re: [NetBehaviour] Fwd: BMW Tate Live Performance Room: Pablo Bronstein's Constantinople Kaleidoscope
hi I was at the last one with Jérôme Bell a remake of one of his old performances (maybe even a recorded video) the one good thing was they took the public in the chatwindow who asked questions serious On Mon, Apr 23, 2012 at 10:44 PM, helen varley jamieson he...@creative-catalyst.com wrote: thanks, it looks like an interesting project :) i'm going to have a look at the event on thursday night see just how groundbreaking it is ... On 23/04/12 6:14 PM, Pall Thayer wrote: http://www.eto.org.uk/etd/media/releases/pr009.htm On Mon, Apr 23, 2012 at 12:13 PM, Pall Thayer pallt...@gmail.com wrote: The description sounds a bit like the Chaos in Action project in 1997. On Mon, Apr 23, 2012 at 12:09 PM, helen varley jamieson he...@creative-catalyst.com wrote: has anyone else had a look at this? i'm a bit stunned that they are describing what sounds like webcasting slightly augmented by social media as an entirely new mode of presentation ... on their web site, they even claim it as the first artistic programme created purely for live web broadcast. where have they been for the last 15+ years i wonder??? -- helen varley jamieson: creative catalyst he...@creative-catalyst.com http://www.creative-catalyst.comhttp://www.make-shift.nethttp://www.upstage.org.nz ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour -- *Angry Men* la vidéo https://vimeo.com/40534607 http://www.bram.org ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
