[spectre] ICC 10th Anniversary: exhibition symposium (april 21, 22)
ICC celebrates the 10th Annivesary this year..! (after many obstacles... thank you very much for your kind support...) yukiko shikata/ ICC * * * 1) 10th Anniversary Session Series starts 2) Special Symposium on April 21, 22 3) ICC Chronology exhibition 4) new annual exhibition Open Space 2007 http://www.ntticc.or.jp -- 1) 10th Anniversary Session Series Established on April 1997 to promote dialogue between science and the arts around the core theme of communication, NTT InterCommunication Center (ICC) is celebrating its 10th anniversary this year. In the past decade, information technology has undergone dramatic change. Above all, penetration of the digital network environment has enabled people to send out or share information beyond the limitations of space. Given these circumstances of today, the significance and possibilities of arts and media technology need to be re-defined in relation to society and culture. To that end, ICC is launching the 10th Anniversary Session Series, which offers various events throughout this year as opportunities for interdisciplinary dialogue on a variety of themes. As the first event of the series, we are holding a special two-day symposium, The Future of Media and Art in April. http://www.ntticc.or.jp/Exhibition/2007/10thSessionSeries/index.html 2) ICC 10th Anniversary Session Series Vol. 1 Special Symposium The Future of Media x Art Date : April 21(Sat.) , April 22(Sun.) 2:00pm-5:00pm Venue : ICC Gallery A Capacity : 250 persons(first-come basis) Admission : Free * English/Japanese translation *Live on the Internet As the information environment is constantly updated, the realms of art and creation associated with media have been diversifying on an unprecedented scale. Creation in today's world is related to social trends of culture, science and technology, while simultaneously highlighting these facets from unique perspectives, opening the way for wider participation of, and communication between, people. This symposium invites key players in the media culture from Japan and abroad, who have spearheaded the formulation and development of media culture by providing creative inspiration via media technology and art, to talk about the creative possibilities of the future, in consideration of the circumstances and changes over the past decade from multiple perspectives. April 21(sat): Alex ADRIAANSENS(Director, V2, The Netherlands) Soh-Yeong Roh(Director, art center nabi, Korea) FUJIHATA Masaki(Media Artist/ Dean, Graduate School of Film and New Media, Tokyo National University of Fine Arts and Music) MIKAMI Seiko(Artist/Associate Prof. Tama Art University) moderated by HATANAKA Minoru(ICC) April 22(sun): ABE Kazunao(Artistic Director, YCAM, Yamaguchi) Alessandro LUDOVICO(Executive Editor, neural, Italy) Casey REAS(Co-founder of processing/Associate Prof. UCLA) TAKATANI Shiro(Artist/dumb type) moderated by SHIKATA Yukiko(ICC) http://www.ntticc.or.jp/Exhibition/2007/TheFutureOfMediaArt/index.html 3) ICC Chronology ICC Chronology : 1997-2006, a special exhibition commemorating ICC's 10th anniversary, presents its 10 years of activities through posters,chronologies, images, and videos of the decade. Date : April 19(Thu.)-June 24(Sun.),2007 Venue : ICC Gallery A Hours : 10:00am-6:00pm Admission : Free http://www.ntticc.or.jp/Exhibition/2007/chronology1997_2006/index.html 4) Open Space 2007 ICC Open Space is a community space that is free of charge and open throughout the year. It utilizes part of the gallery, library, mini theater and lounge and is organized around this year's concept, Open! As an accumulation of the core activities at ICC, about ten works are presented free of charge at the following ICC Zones and Corners: Art Technology, Research Development, Network, and Archive. It is also possible to further research the activity history of ICC through various reference materials and visual recordings. With a completely functional cafe, shop, and lounge, ICC aims to create an environment where one encounters and engages with the progressive experimental activities derived from the dialogue between technology and art. Exhibitions are planned to change annually. Date : April 19(Thu.)-March 9(Sun.), 2008 http://www.ntticc.or.jp/Exhibition/2007/Openspace2007/index.html __ SPECTRE list for media culture in Deep Europe Info, archive and help: http://coredump.buug.de/cgi-bin/mailman/listinfo/spectre
[spectre] ICC in June: Symposium series: Media Technology and, the Emergence of new 'Knowledge'
ICC 10th Anniversary Session Series Vol. 2 Symposium series Media Technology and the Emergence of new 'Knowledge' at ICC on June 9, 16, 23(all saturday) 14:00-17:00. -admission free / japanese only / live on the Internet. -moderated by SHIKATA Yukiko June 9(sat) 14:00-17:00 Potentials of the Interface: Surfing the edges of creation panelists: GUNJI Pegio-Yukio(Professor, Department of Earth Planetary Science, Faculty of Science/ Graduate School of Science Technology, Kobe University) OKAZAKI Kenjiro(Artist/ Professor, Kinki University Internatilnal Center For Human Sciences) YANAIHARA Mikuni(nibroll director/ Choreographer) June 16(sat) 14:00-17:00 The Future in Archives: Data reorganized panelists: ISHIDA Hidetaka(Professor, Interfaculty Initivative in Information Studies, The University of Tokyo) MINAKA Nobuhiro(Evolutionary biologist, Senior Researcher of the National Institute for Agro-Environmental Sciences ) NAKATANI Norihito(Associate Professor, Department of Architecture, Waseda University) June 23(sat) 14:00-17:00 Networks Now: Now worlds can be connected panelists: BABA Masataka(Architect/Open A Ltd.) MASUDA Naoki(Network Science/Lecturer, Graduate School of Information Science and Technology Mathematical Informatics Course, The University of Tokyo) NAKAJIMA Kengo(Community Engine Inc. President/CEO) http://www.ntticc.or.jp/Exhibition/2007/MediaTechnologyAndKnowledge/symposium2_1.html __ SPECTRE list for media culture in Deep Europe Info, archive and help: http://coredump.buug.de/cgi-bin/mailman/listinfo/spectre
[spectre] Light InSight [EMAIL PROTECTED], Tokyo (Dec. 6 - Feb. 28, 2009)
Light InSight Exhibition Date: December 6 (Sat.), 2008–February 28 (Sat.), 2009 Venue: NTT InterCommunication Center [ICC] Gallery A http://www.ntticc.or.jp/Exhibition/2008/Light_InSight/index.html Hours: 10:00 am–6:00 pm (Admission until 30 minutes before closing) Closed: Mondays (If Monday is a holiday, then Tuesday), The year-end and New Year holidays (December 29 to January 5), Maintenance day (February 8) Admission Fee: Adults / University students 500 (400) Yen, Admission free for High school students and younger * Rates shown in parentheses are for groups of more than 14 persons. Organizer: NTT InterCommunication Center [ICC] Support: Austrian Cultural Forum, Mondriaan Foundation, The Great Britain Sasakawa Foundation Special Cooperation: Carl Zeiss Meditec Co., Ltd., British Council Cooperation: FACT Centre Liverpool, Jessup Manufacturing Company (USA), OS co., LTD, Tokyo Studio Co., Ltd. Address: Tokyo Opera City Tower 4F 3-20-2 Nishishinjuku, Shinjuku-ku, Tokyo 163-1404 Japan [EMAIL PROTECTED] http://www.ntticc.or.jp/ Paricipating artists: alien productions / Joseph BEUYS / Evelina DOMNITCH Dmitry GELFAND / Nina FISCHER Maroan EL SANI / FUJIMOTO Yukio / Ingo GÜNTHER/ Bengt SJÖLÉN Adam SOMLAI-FISCHER with Usman HAQUE / Jochem HENDRICKS / Mischa KUBALL / Anthony McCALL / Nam June PAIK / TAKATANI Shiro Curated by: SHIKATA Yukiko What transformations in our senses and perceptions are due to the advent optical technology, especially by digitalization? Light InSight exhibition offers new perspectives on the too often overlooked past, present and future possibilities of the existence of light, seeing our perception in ways that go beyond art and science. Here, we introduce experimental works and projects with unique visions of concept, phenomena, and process, in which the viewer can experience the transformation of our senses and physical perceptions afforded by the continuous expansion of optical and light technology. It will will provide an opportunity for the viewer to question anew the significance of seeing, vision, and sight through light, and to obtain new insights. [Related events] 1. Symposium Light InSight: December 6 (Sat.), 1:00 pm - 5:30 pm [Session 1] Light in Visual System and Perception 1:00 pm - 3:00 pm Panelists: OKADA Atsushi (History of Art and Aesthetics/ Professor of the Graduate School of Human and Environmental Studies, Kyoto University), alien productions, Ingo GÜNTHER, Mischa KUBALL Moderator: SHIKATA Yukiko (ICC Senior Curator) [Session 2] Art and Science: Regarding Light and Perception 3:30 pm - 5:30 pm Panelists: IKEGAMI Takashi (Complex Systems Studies/ Professor of the Graduate School of Arts and Science, University of Tokyo), Evelina DOMNICH Dmitry GELFAND, Nina FISCHER Maroan EL SANI, Jochem HENDRICKS Moderator: SHIKATA Yukiko (ICC Senior Curator) Venue: ICC 4F special space Capacity: 150 persons for each session (first-come basis) Admission: free (Ticket is required to see the exhibition) *with simultaneous interpretation. 2. Workshop: “Make’n’Shoot! WiFi Camera Obscura” Tutors: Adam SOMLAI-FISCHER, Bengt SJÖLÉN Date: December 7 (Sun.), 2008 2:00pm-5:00pm Venue: ICC 4F special space Capacity: 12 persons Entry fee: free (Ticket is required to see the exhibition) *with interpretation. *Welcome to come and see the workshop. __ SPECTRE list for media culture in Deep Europe Info, archive and help: http://coredump.buug.de/cgi-bin/mailman/listinfo/spectre
[spectre] ICC Open Space 2009 (May 16 - Feb. 28, 2010)
NTT InterCommunication Center[ICC] April 2009 Long-term exhibition Open Space 2009 May 16 - February 28, 2009 at NTT InterCommunication Center[ICC] Admission: free ICC will release the 4th Open Space, an annual long-term exhibition. http://www.ntticc.or.jp/Press/2009/4/0424_01_j.html *the english info. will be uploaded by mid May. [Open Space 2009] ASANO Kohei IWAI Toshio KUWAKUBO Ryota JODI Gregory BARSAMIAN FUJIKI Jun Rafael LOZANO-HEMMER MUTO Tsutomu (may 16 to oct. 4) YAMAGUCHI Takahiro (may 16 to oct. 4) MAEBAYASHI Akitsugu (sept. 19 - feb. 28, 2010) Thematic Exhibition (May 16 - February 28, 2010) [Mission G: sensing the earth] doubleNegatives Architecture NARUKAWA Hajime PACT SYSTEMS Pachube + M.K.I. MURAKAMI Yusuke + Japanese 50th Antarctica Research Expedition +National Institute for Polar Research *curated by Yukiko Shikata [symposium of Mission G] May 16(Sat) 14:00- ICHIKAWA Sota (doubleNegatives Architecture) Marko PELJHAN (PACT SYSTEMS) NARUKAWA Hajime Guest: SERKAN Anilir (Doctor of Engineering/ Astronaut candidate) Moderated by SHIKATA Yukiko, ICC *English/Japanese simultaneous translation *Live on the Internet [artists talk] May 17 (Sun) 14:00- FUJIKI Jun, MUTO Tsutomu Moderated by HATANAKA Minoru, ICC. *only in Japanese *Live on the Internet NTT InterCommunication Center[ICC] Tokyo Opera City Tower 4F 3-20-2 Nishishinjuku, Shinjuku-ku Tokyo 163-1404 Japan tel：81-3-5353-0814 fax： 81-3-5353-0900 __ SPECTRE list for media culture in Deep Europe Info, archive and help: http://coredump.buug.de/cgi-bin/mailman/listinfo/spectre
[spectre] Salon Ecosophy #1: Marko Pelijan (April 9, Tokyo, with Ustream)
Salon Ecosophy #1 Marko Peljhan “UNMANNED POLES - HUMAN LANDSCAPES - ELECTROMAGNETIC TERRITORIES” Date: April 9 (mon) 19:00-21:00 (JST) Location: Iidabashi Bunmei, Tokyo http://bun-mei.org/ *Entrance: Donation welcome! USTREAM：http://www.ustream.tv/channel/salon-ecosophy Host: Yukiko Shikata / Salon Ecosophy Translation: David d’Heilly (English/Japanese) Co-operation: Iidabashi Bunmei *Thanks to the Slovenian Embassy for wine support! [Salon Ecosophy] Salon Ecosophy appears temporarily in somewhere sometimes as an open, diverse place by inviting guests with unique visions and practices heading for the future. By interpreting the notion “Ecosophie”, coined by Felix Guatarri in 1980s, in the age of global information networks, “Salon Ecosophy” seeks the new world landscape where the “Information Ecology” would take an important role to connect the “Mind, Social and Natural Ecology” in the way never happened before. I hope this salon would activate the creative energy of all to gather and share the time together! April 2012 Yukiko Shikata / Salon Ecosophy ::: “UNMANNED POLES - HUMAN LANDSCAPES - ELECTROMAGNETIC TERRITORIES” by Marko Peljhan: I will present current research and engagement in the Arctic and Antarctic in the framework of the Arctic Perspective Initiative (API), with the specific focus on the use of unmanned aerial systems, the SiNuNi citizen science network for on-the land mapping by artists, hunters, scientists, tactical media workers and cartographers and radio interception based tactical media work.The Arctic Perspective Initiative (API) is a non-profit, international group of individuals and organizations, founded by Marko Peljhan and Matthew Biderman , whose goal is to promote the creation of open authoring, communications and dissemination infrastructures for the circumpolar region. It’s aim is to learn from and empower the North and Arctic peoples through open source technologies and applied education and training. By creating access to these technologies while promoting an open, shared network of communications and data, without a costly overhead, further sustainable and continued development of culture, traditional knowledge, science, technology and education opportunities for peoples in the North and Arctic regions is enabled. Conceptual decisions behind the current API projects and their future paths will be traced. http://www.arcticperspective.org http://www.c-astral.com http://www.space.si Marko Peljhan: A native of Slovenia and a theatre and radio director by profession, Peljhan founded the arts and technology organization Projekt Atol in the early 90’s and cofounded one of the first media labs in Eastern Europe, LJUDMILA in 1995. In the same year, the founded the technology branch of Projekt Atol called PACT SYSTEMS where he developed one of the first Global Positioning Systems based participatory networked mapping projects, the Urban Colonisation and Orientation Gear 144. He has been working on the Makrolab, a unique project that focuses on telecommunications, migrations and weather systems research in an intersection of art and science from 1997-2007, the Interpolar Transnational Art Science Constellation during the International Polar Year (project 417) and is currently coordinating the Arctic Perspective Initiative art/science/tactical media project focused on the global significance of the Arctic geopolitical, natural and cultural spheres. Peljhan has also been the flight director of ten art/science parabolic experimental flights in collaboration with the Microgravity Interdisciplinary Research initiative and the Yuri Gagarin Cosmonaut Training Centre, creating conditions for artists to work in alternating gravity conditions. He is the recipient of many prizes for his work, including the 2001 Golden Nica Prize at Ars Electronica together with Carsten Nicolai for their work, polar, and the UNESCO Digital Media Prize for Makrolab in 2004. During 2008, Peljhan was appointed as one of the European Union Ambassadors of Intercultural dialogue. His work was exhibited internationally at multiple biennales and festivals (Venice, Gwangju, Brussels, Manifesta, Johannesburg, Lyon), at the documenta X in Kassel, several ISEA exhibitions, several Ars Electronica presentations and major museums, such as the P.S.1 MOMA, New Museum of Contemporary Art, ICC NTT Tokyo, YCAM Yamaguchi, Moderna Galerija, Van Abbemuseum and others. From 2009 on he is one of the series editors of the Arctic Perspective Cahiers series (Hatje Cantz) He holds joint appointments with the Department of Art and the Media Arts Technology graduate program at the University of California Santa Barbara and was appointed as Co-Director of the UC Institute for Research in the Arts in 2009, where he is coordinating the art/science Integrative methodologies initiative. He is also coordinating international activities for the SPACE-SI space science research consortium and is a co-chair of the European Space
[spectre] Salon Ecosophy #2: Michael Saup: May 18(fri) 19-21:00 (JST) with USTREAM
Salon Ecosophy #2 Michael Saup “1001 SUNS – The Archeology of Future” Date: May 18 (fri) 19:00-21:00 (JST) Location: Iidabashi Bunmei, Tokyo http://bun-mei.org/ *Entrance: Donation welcome! USTREAM：http://www.ustream.tv/channel/salon-ecosophy Host: Yukiko Shikata / Salon Ecosophy Translation: Shuichi Fukazawa (German/Japanese) Co-operation: Iidabashi Bunmei Support: Andreas Erhart Split the atom's heart, and lo! Within it thou wilt find a sun. -- Persian mystic poem quoted by Bahá'u'lláh in The Seven Valleys 1860, Baghdad If the radiance of a thousand suns were to burst at once into the sky, that would be like the splendor of the mighty one. Now I am become Death (Time), destroyer of worlds. (Robert Oppenheimer quoting the Hindu Scripture Bhagavad Gita on the occasion of the first nuclear detonation Trinity in New Mexico 1945, putting Albert Einstein's abstract equation E=mc2 into reality) And when the thousand years are expired, Satan shall be loosed out of his prison, and shall go out to deceive the nations. -- Bible, Revelation 20:7 In this talk I will examine the shift from nuclear culture employing radiation released via atoms and bits stored via electrons towards the point we face now: mainstream paradigms of society are being inverted by the discovery of our possible final cultural heritage: a large drawing with an atomic pencil on the canvas of time, all accomplished by only two generations. It is at about time to base culture again on cultural values instead of technological assets. 1001 Suns is the title of the feature movie I am currently working on. The promethean ancient North American Indian story Raven steals the Sun sets the frame for the analysis of the beginning and ending of the nuclear age. A story as old as mankind already encarved on a column in Göbekli Tepe, Turkey, the oldest temple of mankind dating back to 11000 - 9000 BC. 1001 Suns will be a Human Fiction movie. Since we have the ability to make a choice, our collective that became connective will have to become corrective. As long as we transform our thoughts and words into a new reality, there is hope that we will invent a concept of a new future. This is what we must model for our children. Since the 1000 years (1000 suns) of imprisonment of Evil have obviously expired 1945 in the desert of New Mexico right after the fall of the German 1000-Year Empire, I have a lot of hope, that we will be able to take a step back in order to step out of the nuclear cave - the cave where Werner Heisenberg and his colleagues have left the forgotten first nuclear cave painting on the skin of time. Radioactive traces will be the heritage to the next generations and not the cultural artifacts. Margit Rosen/ZKM on Pulse8 by Michael Saup 1992 [Michael Saup] Born in Hechingen 1961, based in Berlin. Studied Music at Dominican University, San Rafael, California, USA, Computer Science at the University Furtwangen and Visual Communication at the Hochschule für Gestaltung (University of Design), Offenbach. Instructed at the Akademie der Bildenden Künste (Academy of Visual Arts), Munich; artistic-scholarly staff member at the Institute for New Media at the Städelschule, Frankfurt/M.; from 1999 to 2005 Professor at the Hochschule für Gestaltung (University of Design)/ZKM, Karlsruhe. In Japan he exhibited the media art work “R111” at “ARTLAB-Prospect” exhibition in 2001, Tokyo, by Canon ARTLAB. Currently Saup is working on the new film “1001 Suns”. In Japan, he will show his latest work “SHIMA” at the “Possible Water” exhibition curated by Yukiko Shikata (July 7 – 21, 2012, Goethe Institut Tokyo). http://1001suns.com/ __ SPECTRE list for media culture in Deep Europe Info, archive and help: http://post.in-mind.de/cgi-bin/mailman/listinfo/spectre
[spectre] ExhibitionDiscussion Possible Water July 7-21 @ Goethe Institut Tokyo
Exhibition Discussion Possible Water July 7 (sat) - 21 (sat) @ Goethe Institut Tokyo Organizer: Goethe Institut Tokyo Curator: Yukiko Shikata http://www.goethe.de/ins/jp/tok/ver/de9480407v.htm *in german/japanese ::: “Possible Water” introduces 8 German and Japanese artists in various generations and expressions who investigate the potential of “water” for present and future societies in relation to science, technology, environment, with critical and poetic perspectives. Over half of works exhibited are produced after March 11, 2011, to re-investigate the relation of human, nature and technology directly/indirectly. Artists: Agnes Meyer-Brandis, Ekkeland Götze, Kenshu Shintsubo, BCL (Shiho Fukuhara + Georg Tremmel), Ryo Hirano, Michael Saup, Rolf Julius, Sakumi Hagiwara (only for screening) ::: EVENTS on July 7, the first day of the exhibition (and the day of TANABATA, that people send wishes to the sky by writing on papers) 1) Discussion Possible Water July 7 (sat) 15:00-17:00 Shinichi Tsuji (Antholopologist) and artists (moderated by Yukiko Shikata) *admission free, with German/Japanese translation 2) Water Planet Festival July 7 (sat) 17:00-19:00 Live (Katsumi Nonaka with Indian Flute, Michael Saup with Saz Baglama), TANABATA bamboo trees with people's wishe to write on a strip of paper and hang on tree, and opening party..!! *admission free ::: Screenings: July 13 (fri) 19:00- July 21 (sat) 14:00- Screening works of: Agnes Meyer-Brandis, Ryo Hirano, Michael Saup, Sakumi Hagiwara *the same program, admission free ::: PDF of Possible Water flyer: http://suns.1001suns.com/wp-content/uploads/2012/06/120525FINAL_possiblewater-3-6-72dpi.pdf Yukiko Shikata *FYI: preliminary text (unofficial, in starting phase) on Possible Water; The Earth is a miraculous planet with water affording various kinds of living creatures. Water is the origin of all creatures and it circulates all over the planet by transforming between gaseous, liquid and solid states – in a vast scale of time, as the whole amount of water stays with the same. In the age of digital technology, environmental satellites visualize the weather and medical instruments visualize the circulation inside the body. We are in the phase of rediscovering the role of water from the inside and the outside, from the micro- to the macro-scale. In the 20th century, vast amount of water spent by humans caused environmental destruction. The self-cleansing action of water is especially hurt by chemical and radioactive pollution that would stay for incredibly long periods. And there is a gap in the world on water supply, with a lot of people being suffering by the lack of access to safe water. Water is fundamental and common to all creatures on Earth, and humans are the only ones who consciously can keep it clean. Japan is one of the few countries with abundant water, but at the same time also threatened by constant Typhoon and Tsunami disasters. Historically Japanese people raised their society and culture based on the flow-based nature. On March 11th, 2011, the country was hit by incredibly strong earthquake and the following tsunami caused the nuclear plant accident at Fukushima Daiichi, resulting in the release of contaminated water to the sea, which became a serious worldwide problem. In Germany, the environmental activities since the later1960s made the country one of the leading countries for recycling and post nuclear energy. Both countries, at the same time, share the global tendency to regard the water as an urgent global issue and an important source beyond difference of social background and consensus. Not all “Water” is visible; rather most of it is invisible. There is water inside of trees and living creatures, being kept deep underground for long duration, or move very slowly in thousand-year cycles. The water is flowing, circulating, but its substantial nature of being a “commons” is not fully discovered. In the 21st century, it becomes more and more urgent for us to seek and discover the potential of water beyond human-centered perspectives. This exhibition makes us face the new potential of water by introducing works that sensitively seek the aspects of “Possible Water”. __ SPECTRE list for media culture in Deep Europe Info, archive and help: http://post.in-mind.de/cgi-bin/mailman/listinfo/spectre
[spectre] Open Call participation by exonemo! (for TV broadcast in January 2013)
Open Call participation by exonemo! exonemo needs overseas volunteers for video work for their project for TV show TECHNE: The Visual Workshop (NHK) to be broadcasted in January 2013. http://exonemo.com/external/techne/ The project deals with the images of Japanese flag that has been screened everyday when NHK ends the day's program. The context of the image on air, the issue of Japanese flag, and the image of Japan.. have complex connotation depending on countries, including Japan itself, but also under drastic changes especially after 3.11. exonemo launches this project, to face and reconsider these issues together beyond national borders with different local, daily contexts. __ SPECTRE list for media culture in Deep Europe Info, archive and help: http://post.in-mind.de/cgi-bin/mailman/listinfo/spectre
[spectre] Praying for Seiko Mikami (1961-2015.1.2)
To: friends of Seiko Mikami Seiko Mikami, an Internationally-acknowledged artist and professor of Information Design Department at Tama Art University, Tokyo suddenly passed away of cancer with the age 53 on January 2nd. We express our very deep sorrow and grief over her. http://www.idd.tamabi.ac.jp/art/obituaries/20150113/ * * * Seiko started her career in 1984 with huge installations to express Information Society and Body. In 90s she lived and studied in NY, and since 1995, has actively produced cutting-edge interactive works at Canon ARTLAB, NTT InterCommunication Center[ICC), and since 00s at YCAM, her works have been shown in many countries worldwide. http://www.idd.tamabi.ac.jp/~mikami/artworks/index.html * * * Seiko was a charismatic and energetic, at the same time very frank and communicative, and had always various people around her. We believe Seiko will alive vividly in our memories and keep inspiring us. Kazunao Abe, Sota Ichikawa, Yukiko Shikata January 13rd, 2015 __ SPECTRE list for media culture in Deep Europe Info, archive and help: http://post.in-mind.de/cgi-bin/mailman/listinfo/spectre
[spectre] Condolences for Seiko Mikami (1961-2015)
Condolences for Seiko Mikami (1961-2015) Always energetic, charming, engaging and charismatic -- a chiasma of various people -- Seiko Mikami was one and only artist who realized works derived from her unique vision of the world. She passed away so suddenly. Since then I feel very lost, thinking over her. I met Mikami at her first exhibition “New Formation of Decline (Horobino Shin-zokei)” in 1985, held at the ruined space of a former Yebisu Beer Factory Laboratory*, Ebisu, Tokyo. For about 30 years, thereafter, she had been a stimulating artist and encouraging friend to me. As a writer, curator and a colleague of Tama Art University,** I shared her students, and witnessed her activities as an International artist and caring professor. In a series of huge installations in Tokyo in the 1980s, she developed her subjects based on the concept regarding city as metaphor, from bone-like physical structures (the exhibition at Yebisu) to nerve systems*** and further to the immune system, and finally the “Information war” in society and body. Each exhibition was held in an unique space and location she had found to fit her direction, where the whole space was encroached by huge amounts of junk sculptures forming a heteromorphic dystopia, that made us experience the transforming body in information society tactually. She was then coming into sudden prominence, in the booming Tokyo of the 1980s cyberpunk, techno culture scene — it was far distant from the ordinary art scene with museums and galleries. As a self-made artist, her work always expanded the notion of art throughout independent activities and process-based interaction. During the period she lived in NY (1991-2000), when she studied Computer Science at New York Institute of Technology and worked at Bell Laboratories, she focused on invisible, immaterial and microscopic aspects of the world, with flow-based perspective. Her interest shifted to Bio-informatics and the notion of “membrane”. Since the mid-90s, by coining the concept “Perceptual Interface”, she started to realize interactive works to alienate the body by media technologies such as “Molecular Informatics – morphogenic substance via eye tracking”(1996)*, “World, Membrane and the Dismembered Body”(1997).** In 00s, after she returned to Japan and started to teach at Tama Art University, “Perceptual Interface” was further extended to “gravity”, focusing on the very meta-existence not only forming the world on Earth (all the nature, creatures and artificial entities are based on it, including our body and perception), but also in the universe; wherein “gravicells – gravity and resistance” (2004-10) was collaborated with architect Sota Ichikawa (dNA) at Yamaguchi Center for Arts and Media[YCAM]. In her last huge interactive installation “Desire of Codes”(2010), co-produced with YCAM, her standpoint expanded into omnipresent, multi-layered status of data-base “body and perception” in the era of surveillance, tracking, analysis and feedback loops through networks where “desire” are triggered and accelerated by algorithms. The installation was minimal, systematic, and uncanny, consisting of three parts: (1) arthropod antennae with sensors and cameras forming grid-structure on a big white wall to sense and track visitors with eerie machine noises; (2) 6 robotic arms with a camera and projector hung from ceiling to track visitors; and (3) multi-eye-like projection composed of many small images of visitors, people in the street from many places in the world via Webcams, appearing from data-base by original programs. Though the material and the way of expression have changed, Mikami’s direction was consistent throughout her career. Her interest was to deconstruct, dismember the illusion of “unified self/body” by inviting visitors to experience physical and perceptual environment. She had a unique perspective of somehow “beyond and bellow human being,” including smaller creatures such as insects or even particles or molecules -- all those are autonomous, bottom-up, and in a flowing process of emergence. Mikami was a critical, reflexive and at the same time, remarkably crucial, intuitive “creature”. She sensitively kept on capturing a possible relation between information society and the body. The impact of “3. 11” (the big East Japan Earthquake and followed severe nuclear accident of Fukushima Dai-ichi” in 2011) in Japan let her take a few years off to contemplate and comprehend; her coming work would have to be the one integrating the issues in her way, perhaps with particle- or dust-like super small drones in the air,** but now is stranded forever in time. Yukiko Shikata February 26, 2015 Tokyo [Notes] *Currently Yebisu Garden Place **She was professor of Media Art course of Information Design Department, Tama Art University and I worked with her as a guest professor ***”Bad Art for Bad People”, BF of Iikura Atlantic Building, Tokyo, 1986 “Information Weapon Super Clean Room
Re: [spectre] Condolences for Seiko Mikami (1961-2015)
sl, thank you... yukiko 2015-03-04 12:48 GMT+09:00 shu lea cheang shu...@earthlink.net: Dear Yukiko Much memory with Seiko, thanks for posting this write up. My grief is with you. sl At 10:40 AM +0900 3/3/15, yukiko shikata wrote: Condolences for Seiko Mikami (1961-2015) Always energetic, charming, engaging and charismatic -- a chiasma of various people -- Seiko Mikami was one and only artist who realized works derived from her unique vision of the world. She passed away so suddenly. Since then I feel very lost, thinking over her. I met Mikami at her first exhibition New Formation of Decline (Horobino Shin-zokei) in 1985, held at the ruined space of a former Yebisu Beer Factory Laboratory*, Ebisu, Tokyo. For about 30 years, thereafter, she had been a stimulating artist and encouraging friend to me. As a writer, curator and a colleague of Tama Art University,** I shared her students, and witnessed her activities as an International artist and caring professor. In a series of huge installations in Tokyo in the 1980s, she developed her subjects based on the concept regarding city as metaphor, from bone-like physical structures (the exhibition at Yebisu) to nerve systems*** and further to the immune system, and finally the Information war in society and body. Each exhibition was held in an unique space and location she had found to fit her direction, where the whole space was encroached by huge amounts of junk sculptures forming a heteromorphic dystopia, that made us experience the transforming body in information society tactually. She was then coming into sudden prominence, in the booming Tokyo of the 1980s cyberpunk, techno culture scene - it was far distant from the ordinary art scene with museums and galleries. As a self-made artist, her work always expanded the notion of art throughout independent activities and process-based interaction. During the period she lived in NY (1991-2000), when she studied Computer Science at New York Institute of Technology and worked at Bell Laboratories, she focused on invisible, immaterial and microscopic aspects of the world, with flow-based perspective. Her interest shifted to Bio-informatics and the notion of membrane. Since the mid-90s, by coining the concept Perceptual Interface, she started to realize interactive works to alienate the body by media technologies such as Molecular Informatics - morphogenic substance via eye tracking(1996)*, World, Membrane and the Dismembered Body(1997).** In 00s, after she returned to Japan and started to teach at Tama Art University, Perceptual Interface was further extended to gravity, focusing on the very meta-existence not only forming the world on Earth (all the nature, creatures and artificial entities are based on it, including our body and perception), but also in the universe; wherein gravicells - gravity and resistance (2004-10) was collaborated with architect Sota Ichikawa (dNA) at Yamaguchi Center for Arts and Media[YCAM]. In her last huge interactive installation Desire of Codes(2010), co-produced with YCAM, her standpoint expanded into omnipresent, multi-layered status of data-base body and perception in the era of surveillance, tracking, analysis and feedback loops through networks where desire are triggered and accelerated by algorithms. The installation was minimal, systematic, and uncanny, consisting of three parts: (1) arthropod antennae with sensors and cameras forming grid-structure on a big white wall to sense and track visitors with eerie machine noises; (2) 6 robotic arms with a camera and projector hung from ceiling to track visitors; and (3) multi-eye-like projection composed of many small images of visitors, people in the street from many places in the world via Webcams, appearing from data-base by original programs. Though the material and the way of expression have changed, Mikami's direction was consistent throughout her career. Her interest was to deconstruct, dismember the illusion of unified self/body by inviting visitors to experience physical and perceptual environment. She had a unique perspective of somehow beyond and bellow human being, including smaller creatures such as insects or even particles or molecules -- all those are autonomous, bottom-up, and in a flowing process of emergence. Mikami was a critical, reflexive and at the same time, remarkably crucial, intuitive creature. She sensitively kept on capturing a possible relation between information society and the body. The impact of 3. 11 (the big East Japan Earthquake and followed severe nuclear accident of Fukushima Dai-ichi in 2011) in Japan let her take a few years off to contemplate and comprehend; her coming work would have to be the one integrating the issues in her way, perhaps with particle- or dust-like super small drones in the air,** but now is stranded forever in time. Yukiko Shikata February 26, 2015 Tokyo [Notes
[spectre] RE/membering MIKAMI Seiko, March 8 at ICC, Tokyo
Farewell Event of MIKAMI Seiko RE/membering MIKAMI Seiko 1961-2015 Founders: ABE Kazunao, ICHIKAWA Sota, KUBOTA Akihiro, SHIKATA Yukiko, TSUJI Hiroko, HATANAKA Minoru, MINATO Chihiro / Art Media Course, Department of Information Design, Tama Art University Date: Sunday, March 8, 2015, 6:30pm - 9:00pm (JST) Venue: ICC Gallery A Admission Free Organizer: NTT InterCommunication Center [ICC] http://www.ntticc.or.jp/Exhibition/2015/RE_membering_MIKAMI_Seiko/index.html *Formal dress is not required. MIKAMI Seiko (1961.1.8 - 2015.1.2): Artist, Professor of Tama Art University. Since the 1980s, has been showing large-scale installations themed on information society and the human body. In the 1990s, most of works are interactive media art installations incorporating human perception, eye-tracking project Molecular Informatics, about acoustic sense and the living body sound World, Membrane and the Dismenbered Body, gravicells - gravity and resistance on the theme of the gravity called the 6th consciousness and Desire of Codes focused in coded individual at information society. Her Art works were shown at Fundacio Joan Miro, Le Musée des Beaux-arts de Nantes, Künstlerhaus Vienna, Kulturhuset Stockholm and Canon ARTLAB. Also shown at the number of international Media Art Festivals such as transmediale (Berlin), DEAF (Rotterdam), SHARE (Turin), Ars Electronica (Linz), MoiMulti (Quebec), TESLA (Berlin), VEROCITY Festival of Digital Culture (UK), TRUST (Dortmund), ISEA and the other. Solo exhibition Desire of Codes held at Yamaguchi Center for Art and Media [YCAM], NTT InterCommunication Center [ICC] and from 2012, will travel to around the world. __ SPECTRE list for media culture in Deep Europe Info, archive and help: http://post.in-mind.de/cgi-bin/mailman/listinfo/spectre
[spectre] Seiko Mikami Project v.1 "Seiko Mikami and the 1980s" (Oct. 2- 26, 2016) @ Paraborica-bis, Tokyo
Seiko Mikami Project v.1 "Seiko Mikami and the 1980s" October 2- 26, 2016 @ Paraborica-bis, Tokyo http://www.yaso-peyotl.com/archives/2015/09/seiko_mikami_project_v1_80_2015102_26.html Curated by: Yuichi Konno, Yukiko Shikata Organized by: Seiko Mikami Project v.1 Commiittee (Yuichi Konno / Yukiko Shikata / Mitsuru Tokisato / Yoko Niitsuma / Jun-yeon, Ma / Milky Isobe), Paraborica-bis Cooperation: Media Arts Course at Tama Art University, P3 art and environment, Roentgenwerke Seiko Mikami (1961-2015) appeared as a super star figure in 1985 with a huge installation in abandoned factory, consisted of Iron Objects, etc. made of junk materials of the city. This small exhibition focuses on her activities in 80s, that she sealed in mid 90s, trying to trigger memories of each, make people meet beyond generation, share the information, dig works and materials for the future possible archives, and the activities continued to "Seiko Mikami Project v.2" and further. [contents] - Works in 80s: "Iron Plant "(1984−1985), "Dead Micky" (1987)、"Bio Chips"(1988-1991)、"Information Weapon"(1990), etc. - Photos of huge installations: "Horobi no Shin Zokei" (1985), "Bad Art for Bad People" (1986), "Barikade" (collaborated theatrical performence with Norimizu Ameya) (1987), "Information Weapons 1:Super Clean Room" (1990) - Scanned materials: magazine articles, etc. - Comments by people in and our ot Japan who knows her in 80s, including F.M. Einheit (Einstürzende Neubauten), Mark Pauline (SRL), Kit Blake. - Document video - Talk events of people who know her in/since 80s, and live performances. __ SPECTRE list for media culture in Deep Europe Info, archive and help: http://post.in-mind.de/cgi-bin/mailman/listinfo/spectre
Re: [spectre] Alex Adriaansens (1953-2018)
*A*lex was open, warm, and experimental in mind and attitude, *L*et me be independent and collaborative. *E*ncouraged and inspired me a lot. *X*xx...my deepest condolences... Yukiko Shikata > On 31/12/2018 07:13, Andreas Broeckmann wrote: > > Alex Adriaansens, artist, curator and long-time director of the > > Rotterdam-based V2_Organisation, V2_ Lab for the Unstable Media, passed > > away yesterday, 30 December 2018, after several years of struggling with > > cancer. For over thirty-five years, Alex was active in the field of art > > and technology, as an initiator, an organiser, and as an advisor. His > > influence on many of us was enormous. He projected an amazing, > > passionate engagement with art and with the ways in which new > > technologies impact society. Perhaps even more importantly, he was one > > of the most gentle, friendly and optimistic people I can think of. This > > optimism, coupled with a clear vision and a strong sense of urgency for > > what needs to be done, fuelled his work and put the V2_ Organisation, > > and many of the projects that Alex was involved in, among the most > > influential initiatives in new media art since the 1980s. Now he leaves > > behind his wife, Angelica, and will be missed immensely by many others, > > as a friend and colleague, mentor, and as one of the guiding spirits of > > a whole international scene. > > > > Alex Adriaansens was born in 1953 (on Valentine's Day) and studied at > > the art academy in Den Bosch from 1972 to 1976. In 1981, he, together > > with Joke Brouwer and a whole group of artists and activists, set up the > > artist collective "V2" which became, in 1986, the V2_Organisation, > > Institute for the Unstable Media. The organisation grew and moved to > > Rotterdam in 1994, developing a regular program of exhibition, > > performance, festival, workshop and publication activities, which it > > continues after Alex, due to his declining health, passed on the > > directorship to Michel van Dartel last summer. > > > > In the course of more than three decades, many of the now hotly debated > > topics of digital culture – from interactivity and virtual reality, to > > social media and artificial intelligence – were pioneered in > > exhibitions, conferences and book publications by V2_, under the > > directorship of Alex Adriaansens and Joke Brouwer. Alex was not an > > egocentric leader, but a deeply social, collaborative animal who, rather > > than insisting on this or that, stimulated things to evolve and to > > happen. This turned all the projects he was involved in into permeable > > platforms in which he would collaborate to achieve the best possible > > results, piloting ideas and concepts which would often reach the > > mainstream media and art circles only years later. The 1987 "Manifesto > > for the Unstable Media" remains a crucial document of the critical > > avantgarde spirit that infused the early years, insisting on the > > necessity to engage the new electronic and digital technologies both > > aesthetically and politically. > > > > For Alex, whatever the situation was, there was no other way than to go > > on, to imagine the next step, to push ahead. In this moment of loss and > > sadness, there is nothing better to do in his spirit. Pause, mourn, and > > press on. > > > > Andreas Broeckmann > > > > > > (There will probably be a funerary service on 7 January 2019 at 11:00 > > hrs in Rotterdam.) > > __ > > SPECTRE list for media culture in Deep Europe > > Info, archive and help: > > http://post.in-mind.de/cgi-bin/mailman/listinfo/spectre > > __ > SPECTRE list for media culture in Deep Europe > Info, archive and help: > http://post.in-mind.de/cgi-bin/mailman/listinfo/spectre > > __ SPECTRE list for media culture in Deep Europe Info, archive and help: http://post.in-mind.de/cgi-bin/mailman/listinfo/spectre
