[NetBehaviour] Technologies of Attunement
Technologies of Attunement Olga P Massanet Thomas Cade Aston Wednesday 11 July 2012, 11am-5pm http://www.furtherfield.org/programmes/events/technologies-attunement Olga P Massanet and Thomas Aston have built a custom made VLF antenna to monitor ionospheric disturbances caused by solar storms. For this event/workshop they invite makers and thinkers to participate in a creative sprint and come up with ideas on how to make these disturbances felt. Whether it's a device, a visualisation, a sonification, or a poem, participants will design interfaces to tune into some of the most powerful forces that permeate our world. In a matter of 5 hours participants will experience what the artists have been through in the past 5 months. In teams, they'll get to build an antenna, tune it, collect the data and conceive or experiment with actual or possible interfaces to make solar storms ever more tangible! Technologies of Attunement is part of Invisible Forces at Furtherfield Gallery. http://www.furtherfield.org/programmes/exhibition/invisible-forces More Invisible Forces events. http://www.furtherfield.org/programmes/event/invisible-forces-events -- 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] Pete Gomes – Interview
Pete Gomes – Interview Interviewed by Camille Baker | Vague Terrain. My recent film Hoad and Mickey in the Sky was made on iPhone with 8mm emulators. It was made unexpectedly during a train journey to my friend’s funeral, triggered by me gazing at a bunch of flowers reflected in the train window. Making films using a mobile device was a logical progression of earlier work with mobile media and moving images. The mobile camera gives me the ability to be spontaneous, and be able to react and engage with places and locations without prior planning, and make moving images. By having the possibility of shooting at any moment, it changes how you relate to your surroundings and what you decide to record and share. http://vagueterrain.net/journal22/gomes/01 ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
[NetBehaviour] TONIGHT: Exception Handling - PZI Media Design MA Graduation Show
Sorry for Please /// Exception Handling Piet Zwart Institute Master Media Design and Communication Graduation Show 2012 /// Opening: Friday July 6, 19.00 hrs, Rotterdam, Netherlands /// The show brings together Networked and Lens-Based digital media and presents work across an expanded diversity of disciplines. To reflect the breadth of media practices within the department, the graduation show is an ambitious co-operation between TENT, V2_ Institute for the Unstable Media and WORM and showcases work that ranges from short films, to radio broadcasts of an encrypted narrative, to steam powered analogue ‘holograms’, to many other media-hybrids in-between. /// Opening tour: 19:00 TENT 20:00 V2_ 22:00 WORM /// More??? http://pzwart.wdka.nl/media-design/ Best, a. -- http://su.kuri.mu ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
[NetBehaviour] Call for papers - Generative Algorithmic Art, Leonardo Electronic Almanac
Call for papers - Generative Algorithmic Art, Leonardo Electronic Almanac In his essay “What is Generative Art? Complexity Theory as a Context for Art Theory,” Philip Galanter provocatively suggests that “generative art may be as old as art itself.” [1] The programmatic, mathematical patterns that appear in Islamic tile work, Tibetan mandalas, and textiles from around the globe (and particularly from Jacquard’s early 19th century punch card loom) all exhibit the qualities of generative art: they are produced by preset instructions or procedural rules that dictate the forms and structures they might take. Defining a generative mode of production in its most general terms, Galanter writes, “Generative art refers to any art practice where the artist uses a system, such as a set of natural language rules, a computer program, a machine, or other procedural invention, which is set into motion with some degree of autonomy contributing to or resulting in a completed work of art.” [2] Depending on the technology implemented by the artist and the material form of the finished artwork, there can exist wide variations in the degree of the system’s autonomy, the impact of artistic intention and influence, and the complexity or predictability of the system used to generate the artwork. A technology can be as simple as a written set of natural language instructions resulting in a wall drawing in graphite or as complex as a string of computationally executable code that manifests in a spectacular array of screen-based graphics. The degree of artistic intervention in the final product effects the extent to which a system can be defined as functioning autonomously; in a true generative system, the rules of the program are produced by the artist, set into motion, and then left to develop, often in ways that could not be predicted by the artist due to the incursion of random variables. This special issue of Leonardo Electronic Almanac seeks to investigate the long history of generative and algorithmic art, from the historical predecessors mentioned above, to contemporary computational artworks. We invite proposals for articles examining generative and algorithmic art practices from the ancient world to the present day, and artists’ projects and pictorial essays engaging with these procedures and structures. Submissions might investigate issues of authorial control, predictability and unpredictability, chance and “aleatoric” methods of art making, or might propose theoretical and philosophical explorations of the concepts of hardware and software, the materiality of generative systems, video feedback as a generative system, the relationship between generative art and cinematic practices, or the historically expansive and ever expanding range of technologies capable of executing generative systems. [1] Philip Galanter, “What is Generative Art? Complexity Theory as a Context for Art Theory,” in Generative Art Proceedings, 2003. http://www.generativeart.com/ [2] Ibid. Our publication formats allow for full-color throughout and we encourage rich pictorial content where relevant and possible. Senior editors for this issue: Lanfranco Aceti, Meredith Hoy, and Kris Paulsen http://www.leoalmanac.org/generative-algorithmic-art-lea-call-for-papers/ Deadline for submission September 15, 2012 -- 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] The Last Collaboration
You may remember that Martha Deed's investigation of her daughter, Millie Niss's death in a Buffalo, NY, area icu in 2009 was recently published as The Last Collaboration on the web at http://www.furtherfield.org/friendsofspork/ Edward Picot reviewed the book in an essay at http://www.furtherfield.org/features/articles/last-collaboration. Furtherfield subsequently gave permission for Martha to adapt the web edition for release in book format. Edward gave permission for inclusion of his essay in the book as well. The Last Collaboration, a mixed media book of primary documents, logs, emails, and poetry is now available from Amazon sites in the UK, USA, and Europe. Amazon has activated the "Look Inside" feature for this book, so if you haven't seen it on Furtherfield.org, you can take a look. UK and Europe: http://www.amazon.co.uk/The-Last-Collaboration-Not-very-funny-modernization/dp/061564595X/ref=sr_1_2?s=booksie=UTF8qid=1341313491sr=1-2 USA: http://www.amazon.com/The-Last-Collaboration-Not-very-funny-modernization/dp/061564595X/ref=sr_1_1?s=booksie=UTF8qid=1341258273sr=1-1keywords=%22The+Last+Collaboration%22 Thanks to all who have given support and encouragement during my work on this project. Martha -- The Last Collaboration http://www.furtherfield.org/friendsofspork/ Intro by Edward Picot http://www.furtherfield.org/features/articles/last-collaboration City Bird: Selected Poems (1991-2009) by Millie Niss, edited by Martha Deed http://www.blazevox.org/index.php/Shop/Poetry/city-bird-selected-poems-1991 -2009-by-millie-niss-edited-by-martha-deed-192/ ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
[NetBehaviour] Set at Churner and Churner tonight
Set at Churner and Churner tonight http://lounge.espdisk.com/archives/856 (best) http://espdisk.com/alansondheim/candc.mp3 Azure Carter, voice; Chris Diasparra, baritone; Alan Sondheim, oud, viola, sarangi, cura cumbus. The recording seems way off to me; the place had heavy echo. But it might give you an indication of the piece. Paul McMahon and Linda Montano performed first and were excellent. We were excellent, but the recording isn't. ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
[NetBehaviour] Why you should hear our performances live, at least once by the boy who cried wolf but couldn't even get eaten
Why you should hear our performances live, at least once I shouldn't need to write this, but every time we play (maybe 15 times this year or so in NY or Bklyn), our friends never come; we feed off the gratitude of others, transitive friendships and appreciations that keep us going. I've gone to other people's work in the past, but it's made no difference. I've watched other people's tapes, read other people's books, and we perform more or less isolated. I borrow from dancers, Europeans, jazz audiences, new music audiences - but my acquaintances, almost never. I can think of twice that friends have shown up. Perhaps there's a surfeit of rehearsal tapes, experimental works, that I put up at ESP or my own website. But as tonight's recording shows, everything is missing: we play off echo, off architecture, off pacing, positioning, movement - what comes through is a pale and illicit shadow, unless we've gone through a recording studio (and it's others who buy our records for that matter). I wouldn't mention this, but it's constantly disenheartening: we had an audience tonight, but in terms of my New York friends, it was really the other performers who brought the people. I can only conclude, I'm not really that good, that as I've said before, I play out of tune, too furiously, too stupidly, for others to pay attention to the noise. WFMU's played us but obviously that can count as error; more to the point is my father's last comment on my music - that I have no sense of rhythm but just go foomf foomf foomf all the time. Anyway I put up a relatively poor recording tonight; I did my best, but the echoes at Churner and Churner - which sounded beautiful in situ - made a mess on the recording, which only dealt with point sources. And apologies for this; I'm tired of feeling unsupported, and sometimes it's only through occasions like this that I find out I have few friends in the city, thank god good friends elsewhere in the country and abroad, but nothing that might be called neighborly, or boro-wide. I'll just end by saying you missed something terrific, but with all the culture on- going in New York, it really doesn't matter all that much. This ends my little neurotic piece, while despair and pills will follow me to sleep. --- ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
