[spectre] Closure of Belfast Art Gallery
[via [EMAIL PROTECTED] The Arts Council at a hastily convened meeting on 13th February informed the Chair of Ormeau Baths Gallery (http://www.obgonline.net) that the Council would be withdrawing funding from the Gallery with immediate effect. Ormeau Baths Gallery is the most significant venue for visual arts in Northern Ireland and is one of the largest specialising in contemporary visual arts in Ireland. In the 10 years since it was established OBG has raised the profile of Northern Irish visual art practice both at home and abroad, and has presented the work of major international artists to audiences in Northern Ireland. Its closure will have a significant effect on the arts community in Northern Ireland as well as the image of Northern Ireland internationally. This extreme step is the culmination of a series of actions taken by the Arts Council which date back to the Board of Ormeau Baths Gallery’s decision in December 2003 to withdraw from the Arts Council’s proposed City Centre Arts Centre to be sited at Talbot Street. OBG’s decision was made after careful consideration and taken in the best interests of the visual arts sector. It is indicative of the way that the Arts Council conducts business that our decision prompted a senior member of the Arts Council executive, to instruct staff to “make life difficult” for Ormeau Baths Gallery. Ormeau Baths Gallery unwittingly presented the Arts Council with an opportunity when a number of administrative and procedural errors were identified in our draw down of Lottery funding, a situation which is not uncommon among comparable arts organisations but one which led the Arts Council to take prolonged and disproportionate action against Ormeau Baths Gallery. During the last two years Ormeau Baths Gallery have put in place stringent financial control mechanisms and have been reporting monthly to the Arts Council who have been releasing grant income on a monthly basis. Ormeau Baths Gallery has co-operated with the Arts Council throughout this process, in order to build confidence and re-establish a constructive working relation between the two organisations. The executive of the Arts Council have however continued to undermine the Board and management of Ormeau Baths Gallery and have sought to create an impression to its own Council that Ormeau Baths Gallery was a cause for ongoing concern. The Arts Council in a letter from the Chief Executive dated 9th September 2005 sought further reassurances and requested that a “complete restructuring of the Board and staff restructuring” be carried out. The Board of Ormeau Baths Gallery accepted this proposal and was in the process of implementing this request when the decision was made to withdraw funding. The Arts Council have cited non-compliance to this request as the reason for withdrawing funding, and make reference to a letter from the Director of Ormeau Baths Gallery detailing a timetable for implementation. Ormeau Baths Gallery, having changed its Memorandum and Articles of Association, was about to place a series of public advertisements to call for new Board members, a process which would be conducted by an external recruitment agency. The letter indicated that when in place this new Board would appraise management and staffing structures and institute necessary changes by November/ December 2006. It appears that the Arts Council could not accept the logical chronology of this approach. The Arts Council did not impress upon the Board of OBG that this would result in the withdrawing of all funding but instead were unavailable for discussion, despite repeated efforts to contact them to progress the recruitment process. The Arts Council’s emphasis on staff restructuring would now appear to have less to do with a wish to enhance staffing provision at the Gallery as was articulated to OBG, but rather a continuation of a two year long process to discredit and remove both the Board of Ormeau Baths Gallery, Hugh Mulholland its Director, and his staff. The manner of the enforced closure of Ormeau Baths Gallery and the effect this will have on the arts infrastructure of Northern Ireland raise serious issues of confidence in the Arts Council and its executive. To register your support for Ormeau Baths Gallery or question how this decision sits with ACNI’s Visual Arts Funding Policy which states that the Council: “wishes to see Northern Ireland develop as a centre of excellence for the production, presentation and critical analysis of contemporary visual arts. It encourages quality, innovation and experimentation to develop a culture in which visual art is respected and valued” Please e-mail: Rosemary Kelly, Chair [EMAIL PROTECTED] Roisin McDonough, Chief Executive [EMAIL PROTECTED] Noirin
[spectre] sacred spaces - art and culture from Central Asia
Evening of Contemporary Art and Culture of Central Asia Experimental space Roxy / NoD and Lemurie TAZ present today- Monday, February 27, 7:30 PM Experimental Space Roxy / NoD, Dlouhá 33, Prague, Czech Republic The thematic evening program includes: Screening of documentation of the video art project videoidentity/Sacred Places, shot in Kazakhstan, Uzbekistan, Tajikistan, Turkmenistan and Kyrgyzstan see: http://www.universes-in-universe.de/islam/eng/2004/09/videoidentity/ Performance by the Central Asian Prague Ensemble: Abdigani Zhiyenbay (Kazakhstan) dombra, tar, vocal Asadullo Saifi (Afghanistan) accordion, vocal Janyl Jusubjan (Kyrgyzstan) komuz Berrak Yedek (Turkey) dance Murad Rakhimov (Turkmenistan) dutar, Indian harmonium Firuza Djakfar (Tajikistan) dance Laili Abdigani (Kazakhstan) dombra Sanat Sharipov (Uzbekistan) doira intervention: Filip Cenov Presentation of Central Asian film excerpts and music videos from the upcoming 2006 Music on Film Film on Music (MOFFOM) Festival Discussion on the culture and politics of Central Asia with journalists from Radio Free Europe and other guests Sampling of Kazakh cuisine In cooperation with the internet radio station LEMURIE T.A.Z. the entire programme will be broadcast live at http://www.lemurie.cz on Monday, February 27, 19:30 PM, Central European time. More information at: www.roxy.cz www.lemurie.cz www.moffom.org info: Zuzana Dudova - chief dramaturg, Experimental Space Roxy / NoD [EMAIL PROTECTED] +420-224826296 __ SPECTRE list for media culture in Deep Europe Info, archive and help: http://coredump.buug.de/cgi-bin/mailman/listinfo/spectre
[spectre] A FIESTA OF TOUGH CHOICES -a festival-inspired exhibition with two seminars: 4-12.3 (Modified by Geert Lovink)
A FIESTA OF TOUGH CHOICES -a festival-inspired exhibition with two seminars At Iaspis Jakobsgatan 27, 4th floor, Stockholm Seminar: Saturday 4 and 11 March 2006, 14-20 Exhibition: 4-12 March 2006, mon - sun 12-18, wed 12-19 or by appointment RVSP: [EMAIL PROTECTED] or + 46 (0)8 402 35 76 Participants: Timothy Brennan, critic, author, professor (Minneapolis), Loulou Cherinet, artist (Addis Ababa/Stockholm), Peter Geschwind, artist (Stockholm), Jonathan Harris, art-historian and professor (Liverpool), Edda Manga, researcher History of Thought (Uppsala/Cairo/Gothenburg/Bogota), Philippe Parreno, artist (Paris), Kate Rich, artist and bar-manager (Bristol), Natascha Sadr Haghighian, artist (Berlin), Hito Steyerl, artist, theorist, lecturer (Berlin/Vienna/London), Måns Wrange, artist, professor (Stockholm). Concept: Maria Lind, director Iaspis (Stockholm) Tirdad Zolghadr, freelance critic, curator and event co-organizer (Zürich/Tehran). Multiculturalism is easy to dismiss. For the right, it poses a threat to tradition and national identity. For the left, it often means food festivals, post-Marxist culturalism, or reactionary community spokesmen. As in discussions on globalisation, perhaps the jist of the problem lies in the tools at our disposal, the critical terminology, which is awkward at best, dangerous at worst. Following the government declaration of Year of Cultural Diversity 2006, we looked to theorists and practitioners with a talent for challenging standard terminologies and reassessing their critical potential. If a prominent example is the recent notion of the multitude, as formulated by Antonio Negri Michael Hardt, keynote speaker Timothy Brennan’s use of cosmopolitanism is a reconsideration of an older concept to critique new developments in academia and the cultural industries. Another example is that of Ethnic Marketing, a term commonly used for marketing strategies targeting a non-White market. Used by Tirdad Zolghadr and Måns Wrange the term Ethnic marketing allows the host country -in this case Sweden- to be viewed as a specific ethnic populace with a specific buying power and demand - for a specific type of multiculturalism to begin with. The point in the Ethnic Marketing show is to turn this on its head and view various White markets as ethnicities themselves that one can cater to with various types of cultural concepts and commodities - including various types of multicultural credentials, visions and ideals. One of the very aims of this festival-inspired seminar is to discern what this Swedish brand might be. Does it play with universalist aspirations, or does it share the more fashionable notions of Other but Equal? One vital critical discourse regarding multiculturalism is that of Postcolonial theory, the academic trend which surfaced in the 1980s, and which, among other things, analysed the complicity of Western intellectual traditions with various forms of colonialism, old and new. In the course of its swift institutionalisation, has this movement spawned a newer, updated version of that complicity? What are the perils of academic engagement, and other top-down gestures of goodwill? Finally, what can the artworld contribute to this debate? Is it enough to critique the streamlined government decrees? Are there possibilities of being more cooperative, or is the artworld at odds with mainstream engagements? The instrumentalisation of the visual arts has been decried by critics for decades, and the boom in art culture events dubbed “international festivals”, for one, seems to confirm this suspicion. But does a festival necessarily result in a crude reduction of subject matter, or does it possibly harbour critical potential? Again, when addressing these facets of multiculturalism here and now, it is crucial that the actual language of the debate - the bedrock of the internationalist conundrum - be examined once again. Programme Seminar 1 – Saturday, 4 March 14.00 Introduction by Iaspis director Maria Lind 14.15 Edda Manga, researcher Uppsala University The tolerant racism of multiculturalism 15.00 Natascha Sadr Haghighian, artist Bioswop-project 16.00 Kate Rich, artist and bar manager Feral Trade Catering 16.30 Coffee 17.00 Tirdad Zolghadr, freelance critic and curator How Can it Hurt You if it Looks so Good - Multiculturalism from an Ethnic Marketing Perspective 18.00 Loulou Cherinet, Stockholm-based Iaspis resident artist A Voyage to Laputa, Balnibarbi, Glubdubdribb, Luggnagg and Ethiopia - The Discovery and Use of an African Identity 18.30 Discussion 19.30 Bar and refreshments Day 2 – Saturday 11 March 14.00 Timothy Brennan, Critic, Author and Professor The Sublimation of Poverty 15.00 Hito Steyerl,
[spectre] IZOLENTA/06 International Digital Film Festival
IZOLENTA /06 International Digital Film Festival is happy to inform you that we are ready to accept your art-works for the contest of IZOLENTA/06 Festival. All of the works sent will be divided into four categories: Animation Experimental Documentary Fiction The Festival is held on May, 13-14, 2006 at the re-newed territory of Griboyedov club. The aim of the festival is development of the national culture in the spheres of movie-making and technologies of the modern world, search for new talents and vanguard trend. We target at revealing the process of developing the new cinema philosophy based upon the availability of the movie-making process. It helps to widen the abilities of the digital cinema language as well as to trace the interrelations of various visual arts' sections such as fiction and documentary, experimental movies and animation. It can also become a good starting point for directors, artists and animators. There are few of those how accept the fact that such a way of movie-making is far more convenient that using film for shooting, - says Sundance Independent Film Festival program director, Jeff Gilmore. - Video will not replace movies. Still digital video has already started changing the image of independent film-shooting. New trchnologies found their place with such directors as Spike Lee, Gus Van Sant, Lars von Trier, and many others. Where should stay digital video - shall it stay with dramas and risky projects while film will be used for high budget multimillion studio works? Will we see any more talents or we are going to drawn in the pile of ordinariness? These are the questions that are to be solved within the currence of time. IZOLENTA International Film Festival will help to find the answers today. IZOLENTA/06 Film Festival Commitee: Head Torkay Nastya e-mail: [EMAIL PROTECTED] Kolossova Anna e-mail : [EMAIL PROTECTED] Polevaya Anastassia: [EMAIL PROTECTED] Trudov Vladimir: Komarov Mikhail: Our address: 193036 Russia Saint-Petersburg, 67 ulitsa Marata +7 8901-301-60-61 Torkay Nastya +7 (812) 717 7967 Kolosova Anna e-mail: [EMAIL PROTECTED] http://www.izolenta.spb.su The works, excepted for the competition, should be created by digital video-, audio- and computer devices and they should be made not later than the 1st of January, 2005. The length - no more than 30 minutes. Each participant is to present only one work in every category. The selection board will except the works till the 20th of April 2006. We urgently recommend: Please, pack your works attentively and put in the envelope the filled-in entry form of the participant. On the envelope legibly write the following: Digital film festival IZOLENTA/06 and the title of the category. You should either bring your works to Griboedov club: St. Petersburg, Voronezhskaya street, 2a, or send by mail to the following address: 191119, St. Petersburg, house 67, flat 36, for Anastasia Torkay __ SPECTRE list for media culture in Deep Europe Info, archive and help: http://coredump.buug.de/cgi-bin/mailman/listinfo/spectre
[spectre] LABS call for thesis abstracts - next deadline March 30th
Leonardo Abstracts Service (LABS) Next submission deadline: 30 March 2006 Leonardo Abstracts Service (LABS), consisting of the English LABS database and Spanish LABS database, is a comprehensive collection of Ph.D., Masters and MFA thesis abstracts on topics in the emerging intersection between art, science and technology. Individuals receiving advanced degrees in the arts (visual, sound, performance, text), computer sciences, the sciences and/or technology that in some way investigate philosophical, historical or critical applications of science or technology to the arts are invited to submit abstracts of their theses for consideration. The English LABS and Spanish LABS international peer review panels review abstracts for inclusion in their respective databases. The databases include only approved and filed thesis abstracts. Abstracts of theses filed in prior years may also be submitted for inclusion. In addition to publication in the databases, a selection of abstracts chosen by the panels for their special relevance will be published quarterly in Leonardo Electronic Almanac (LEA), and authors of abstracts most highly ranked by the panel will also be invited to submit an article for publication consideration in the journal Leonardo. Thesis Abstract submittal forms for English language abstracts can be found at http://leonardolabs.pomona.edu Thesis Abstract submittal forms for Spanish language abstracts can be found at http://www.uoc.edu/artnodes/leonardolabs For more information about LABS visit: http://www.leonardo.info/isast/journal/calls/labsprojectcall.html The LABS project is part of the Leonardo Educators and Students program http://www.leonardo.info/isast/educators.html __ SPECTRE list for media culture in Deep Europe Info, archive and help: http://coredump.buug.de/cgi-bin/mailman/listinfo/spectre
[spectre] CFP: visual sociology conf. eyes on the city, urbino/it 2006
Eyes on the City 2006 Conference of the International Visual Sociology Association July 3, 4, 5 University of Urbino Carlo Bo Urbino, Italy IVSA 2006 SESSION PROPOSALS Papers can be submitted from February 15, 2006 to March 31, 2006 http://www.visualsociology.org/proposals.htmlhttp://www.visualsociology.org/proposals.html TOPIC RELATED SESSIONS The following sessions are related to the conference theme. Urban Cinematic Landscapes Renegotiating the Image of the City Chairs: Stavros Alifragkis (UK) and Ben Baruch Blich (IL) The purpose of the session is to examine the city as a metaphor in the cinema. What were the reasons for recruiting the city in the cinema, were there ideological reasons for incorporating the city to the cinema, or were there only entertaining reasons for the use of urban environments in the cinema. Filmmakers have directly or indirectly composed visual poems representing the dynamics of an emerging new era in urban environments. These productions renegotiated the age-old mythology of cities in the novel context of modernity. An illustrative example of such celebrated urban cinematic symphony would be Dziga Vertov's film Man with the Movie Camera (USSR, 1929), which provided an understanding of life in five Russian cities, while simultaneously projecting the cinematic image of the ideal socialist city of the future. Similar films might include Ruttmann's Berlin symphony of a great city 1927; Lang's Metropolis 1927; Cooper Schoedsack's King Kong 1933), Akerman's News from home 1970; Scott's Blade Runner 1982; Besson's Fifth element 1997). The aim of this session is to examine the transformations that the urban imaginary has undergone in its various cinematic reconstructions. For further information or to send abstracts or completed papers please contact: mailto:[EMAIL PROTECTED]Stavros Alifragkis, Digital Studio, University of Cambridge or mailto:[EMAIL PROTECTED]Ben Baruch Blich , Bezalel Academy of Art and Design, Jerusalem Visualizing Urban Living, Leisure and Consumption Chairs: Roberta Bartoletti (IT) and Giovanni Boccia Artieri (IT) This session focuses on research methodologies aimed at visualizing practices and everyday life in urban scapes (sociology with images) with a specific focus on leisure and consumption. In general terms, visualization is considered to be a useful technique in the self-observation of the meaning of everyday life practices, in particular with vernacular image making like snapshots or photovoice projects. This technique can also be utilized for photo elicitation during individual interviews or focus groups. The aim of this panel is to solicit papers reporting on research employing these methods in studies of consumption and leisure practices to assess both the adequacy of the method and the issues investigated. For further information or to send abstracts or completed papers please contact: mailto:[EMAIL PROTECTED]Roberta Bartoletti and mailto:[EMAIL PROTECTED]Giovanni Boccia-Artieri Facoltà di Sociologia, Università di Urbino The Cultural Consecration of Urban Places Chairs: Michael Borer (US) and Dee Britton (US) People are drawn to urban spaces where cultural narratives play an important role in defining a citys character and identity. Such consecrated places can help remind people not only who they are, but why who they are is important. Acts of cultural consecration vary as much as the places people care about and revere, ranging from traditional religious sites (e.g., churches, synagogues, mosques) and civic religious monuments to sports arenas and local taverns. Similarly, public art memorials purport to represent a consensual understanding of historical ruptures. Many societies memorial landscapes reflect significant war achievements and victories. Typically, the victors create war memorials; as a result, the status quo is invariably supported in war memorials. Moreover, the majority of public art projects are determined and funded by those representing the status quo. There are emerging demands of the creation of public memorials that arise from positions of victimization. Papers for this panel should show, through analysis and visual support, both consecrated urban places, and how societies cope with demands from those representing victims. For further information or to send abstracts or completed papers please contact: mailto:[EMAIL PROTECTED]Dee Britton, Department of Sociology and Anthropology, Colgate University. or mailto:[EMAIL PROTECTED]Michael Borer, Department of Sociology, Furman University The Public-Private Debate in the Visual City Chairs: Diane Soles (US) and Berry Brent (CAN) Visual technology from films to cell phone cameras have challenged and blurred the divide between the private world of the home and public world of the street. Yet sociological theories of civil society remain predicated on the solidity of the public-private dichotomy. On one hand, critical theories, such as Habermass public
Re: [spectre] Arts and Sciences
Dear all, if we ask for the relationship between science and art, then this happens in a context, which itself disappears in the act of questioning. The question for the relationship between art and science seems only then revealing, when it observes the context, from where it asks: Is it about treating science with artistical instruments? Is it about opening with theoretical instruments in the field of arts a certain space of reflection? Or is it about a third goal, for which the mixture of art and science could be fruitful? glück zu allen! tnvh Simon Biggs said: I agree with Geert's comments about how the sciences are popularly associated with lab coats and the physical sciences and thus diminished. Note that in my previous post I explicitly refered to the social sciences, commenting on collaborations between artists and those working in those areas in the UK. One of the most productive collaborations I ever engaged with was with an anthropologist. It might be that the professional demands of that science tend to make the people who work in that field a joy to work with (eg: they are professionally nice people - unlike most artists and physicists ;) Certainly, this last observation (about personality) is key to the success of any collaboration. People who work together should also be able to play together...and here I mean not only going out for a social drink but also the play which is at the centre of any creative enterprise. Best Simon On 28.02.06 08:22, Geert Lovink wrote: Hi, why is art science equal to 'bioart'? Why are the social sciences excluded in this whole debate? They are not science and who has decided this? The whole fixation on the figure of the laboratory engineer and so-called 'hard sciences' (read: real, not virtual) always fascinated me as to me this whole contruct is nothing but a phantasma of (certain) artists (and their funders such as Langois) dreaming up some imaginary power in society that the arts sector lost, long time ago and now projects onto so-called hard sciences. Best, Geert Simon Biggs [EMAIL PROTECTED] http://www.littlepig.org.uk/ Professor of Digital Art, Sheffield Hallam University http://www.shu.ac.uk/schools/cs/cri/adrc/research2/ __ SPECTRE list for media culture in Deep Europe Info, archive and help: http://coredump.buug.de/cgi-bin/mailman/listinfo/spectre -- NEU: http://www.formatLabor.net __ SPECTRE list for media culture in Deep Europe Info, archive and help: http://coredump.buug.de/cgi-bin/mailman/listinfo/spectre
[spectre] off--press to exit project space--skopje--03.03.2006
OFF 03.03.2006 10.03.2006 curators: Biljana P. Isijanin and Marjan Denkov artists: Nikola Uzunovski, Tihomir Topuzovski, Aleksandra Petrusevska, and Vedran Bojanovski press to exit project space Maksim Gorki 19, Skopje, Macedonia www.pro-helvetia.org.mk/presstoexit www.epp.com.mk/off press to exit project space is pleased to present the exhibition OFF The exhibition opens Friday, 03.03.2006 at 9pm. The OFF project was developed as part of the curatorial workshop conducted by Basak Senova, resident curator in the Visiting Curatorial Initiative program of press to exit project space, since June 2005. In due course, OFF has been realized through the New Project Productions program of press to exit project space with the curatorial advisory of Basak Senova. This program supports local curators and artists in developing their own projects by providing opportunities for their artistic and curatorial practices in Macedonia. OFF, curated by Biljana P. Isianin and Marjan Denkov, has been shaped by recognizing the value of exclusive contemporary art models that react towards limitations of any kind. As a curatorial practice, the emphasis is on spatial reactions and answers of the artists by even increasing the limitations of the gallery space. Such an approach would operate on different levels: (i) the artistic level: the reaction of the artist thought her/his production that would extract the energy of the gallery space; (ii) the physical level; through the spatial interventions; (iii) the reception level; by experiencing the exhibition through implied political and social dynamics of the space. Tihomir Topuzovski is interested in researching the potentials of mundane objects and their semiotic complexity that challenges the limitation of life. Aleksandra Petrusevska re-narrates the impossible personal stories of despair through the aesthetics of destruction. Vedran Bojanovski captures the gazes of ordinary people through the paths of memory and fragility. Nikola Uzunovski questions the limitations of the possibilities that are presented in the dreams, efforts and productions of the art workers. press to exit project space is supported by Swiss Cultural Program South East Europe and Ukraine and other partners. special thanks to Porta Jazz - Bitola and NOMAD - Istanbul for their support. __ SPECTRE list for media culture in Deep Europe Info, archive and help: http://coredump.buug.de/cgi-bin/mailman/listinfo/spectre
[spectre] Evolution 2006
= EVOLUTION 2006: 3-9 April, Leeds, UK = Lumen present Evolution 2006, their fifth series of events, screenings and performances exploring avant-garde approaches to film, video and sound. FEATURING: Live performances by Tony Conrad, Jürgen Reble/Thomas Köner and Guy Sherwin. Talks and retrospective screenings with Michael Snow and Rose Lowder. Screenings of new artists' film and video from around the world including work by Fred Worden, Ben Rivers, Ximena Cuevas, George Kuchar, Laure Prouvost, Manuel Saiz, Oliver Bancroft, Jayne Parker, Wenhua Shi, Masha Godovannaya and others. Workshops on video synthesis and Super 8 filmmaking with LoVid and no.w.here. Installations by Michael Snow and Karen Mirza/Brad Butler. View the full programme online at: http://www.lumen.org.uk/evolution2006 Tickets on sale 1 March from Leeds City Centre Box Office: 0113 2243801 Funded by Arts Council England Yorkshire with key financial support from The University of Huddersfield, The University of Leeds (The School of Fine Art, History of Art Cultural Studies), Screen Yorkshire, Goethe Institut and Institut Francais. Special thanks to the support of Leeds Film and Leeds City Art Gallery. Sponsored by GNER, Queens Hotel Leeds, Jurys Inn Leeds and Fastsigns. Expanded Cinema performances sponsored by The Wire magazine. __ This email has been scanned by the MessageLabs Email Security System. For more information please visit http://www.messagelabs.com/email __ __ SPECTRE list for media culture in Deep Europe Info, archive and help: http://coredump.buug.de/cgi-bin/mailman/listinfo/spectre
[spectre] Tagung: Was ist ein Medium ? - Vorträge online
Was ist ein Medium? Alexander Roesler und Stefan Münker organisierten (in Zusammenarbeit mit dem Kolleg Friedrich Nietzsche / Weimar) die interdisziplinäre Tagung Was ist ein Medium? Die Tagung fand vom 16. - 17.12.2005 im Kirms-Krackow-Haus, Weimar statt. Die Tagung wurde vom formatLabor Berlin aufgenommen. Die Gesprächsbeiträge sind nun online: http://www.formatlabor.net/Mediendiskurs Über die Tagung: Unsere Gesellschaft ist eine Mediengesellschaft. Medien bestimmen unsere Wahrnehmung, unsere Kommunikation, unsere Lebenswelt. Ohne Medien ist kein Funktionieren der Gesellschaft mehr denkbar, auf keiner Ebene. Das ist mittlerweile weithin anerkannt. Doch in Kontrast zur Erkenntnis der Bedeutung der Medien steht ihr Verständnis - was ein Medium sei, das weiß so recht niemand. Ein paar Beispiele: ein Stuhl, ein Rad, ein Spiegel (McLuhan), eine Schulklasse, ein Fußball, ein Wartezimmer (Flusser), das Wahlsystem, der Generalstreik, die Straße (Baudrillard), ein Pferd, das Dromedar, der Elefant (Virilio), Grammophon, Film, Typewriter (Kittler), Geld, Macht und Einfluß (Parsons), Kunst, Glaube und Liebe (Luhmann). Die Tagung versucht, Licht in das Dunkel des Medienbegriffs zu bringen. Verdiente und bekannte Medienwissenschaftler sollen im Dialog mit jungen Forschern darüber debattieren, was sinnvoll Medium genannt werden kann und soll. Ziel ist es, die jeweiligen Medienbegriffe zu schärfen und die Diskussion der Medienwissenschaften stärker auf ihr Zentrum zu lenken: den Begriff des Mediums. Um am weiteren Diskurs teilzunehmen, können Sie sich in die Mailingliste http://mail.kein.org/mailman/listinfo/vim-preview eintragen. Die Hauptseite ist als Wiki angelegt worden, so dass jeder Diskursteilnehmer die gleichen Editionsrechte hat. Glück zu allen! till nikolaus von heiseler -- NEU: http://www.formatLabor.net __ SPECTRE list for media culture in Deep Europe Info, archive and help: http://coredump.buug.de/cgi-bin/mailman/listinfo/spectre
[spectre] Program April - Juli 2006, HMKV Dortmund, Germany
(Please scroll down for English version) April - Juli 2006 Programm des Hartware MedienKunstVereins Dortmund Ausfuehrliche Informationen unter www.hmkv.de Stand: 1. Maerz 2006 Wir freuen uns auf Ihren/Euren Besuch! AUSSTELLUNGEN ROSA BARBA: PRINTED CINEMA Schaufenster im Museum am Ostwall, Am Ostwall 7, 44122 Dortmund 9. - 23. April 2006 Oeffnungszeiten: Di - Fr, So 10:00 - 17:00 Uhr / Do 10:00 - 20:00 Uhr / Sa 12:00 - 17:00 Uhr Eine Praesentation des Hartware MedienKunstVerein, Dortmund Vortrag von Rosa Barba: Sonntag, 9. April 2006, 15 Uhr GLANZ UND GLOBALISIERUNG Hartware MedienKunstVerein in der PHOENIX Halle Dortmund FANSHOP DER GLOBALISIERUNG: FUSSBALL, RAUM UND OEKONOMIE Ein Projekt der Bundeszentrale für politische Bildung und raumtaktik (Berlin) 6. Mai - 16. Juli 2006 Eroeffnung: Freitag, 5. Mai 2006, 19 Uhr MIT ALLEM RECHNEN Medienkunst aus Estland, Lettland und Litauen Hartware MedienKunstVerein in Kooperation mit dem Museum am Ostwall im Rahmen der 38. Internationalen Kulturtage der Stadt Dortmund / scene: estland, lettland, litauen Museum am Ostwall und PHOENIX Halle Dortmund Museum am Ostwall: 16. Mai - 23. Juli 2006 PHOENIX Halle Dortmund: 20. Mai - 16. Juli 2006 Eroeffnung: 14. Mai 2006, 11 Uhr, Museum am Ostwall, Ostwall 7, 44122 Dortmund UBERMORGEN [F]original - Authentizitaet als konsensuelle Halluzination 27. Mai - 16. Juli 2006 Eroeffnung: Freitag, 26. Mai 2006, 19 Uhr Hartware MedienKunstVerein in der PHOENIX Halle (eine Kooperation mit [plug.in], Basel, und overgaden, Kopenhagen) VERANSTALTUNGEN PERIPHERIE 3000 Sissikingkong, domicil, Kuenstlerhaus, PHOENIX Halle Dortmund 21.-23. April 2006 Ein Projekt des Hartware MedienKunstVerein in Kooperation mit Zagreb Cultural Kapital of Europe 3000 und relations Projekte im oeffentlichen Raum, oeffentliches Kolloquium (in englischer Sprache), Videoinstallationen, Elektronische Musik, Performance r a d i o q u a l i a (NZ/AUS/NL/GB) / RIXC (Riga, LV) SOLAR RADIO STATION, Installation 20. Mai - 16. Juli 2006 Eroeffnung: Freitag, 19. Mai 2006, 18 Uhr Live Installation (Clausthome): 20.+21. Mai 2006, 19-21 Uhr Hartware MedienKunstVerein in der PHOENIX Halle (im Rahmen der Ausstellung mit allem rechnen. Medienkunst aus Estland, Lettland, Litauen) ELECTRONIC BALTIKUM Museum am Ostwall Freitag, 19. Mai 2006, Beginn: 20 Uhr / VVK: 8 ¤ veranstaltet von Sternschaltung, in Kooperation mit dem Museum am Ostwall und dem Hartware MedienKunstVerein (im Rahmen der Ausstellung mit allem rechnen. Medienkunst aus Estland, Lettland, Litauen) WIE ICH LERNTE, RFID ZU LIEBEN Workshop des HMKV, Dortmund, in Kooperation mit RIXC, Riga 20. Mai 2006 Hartware MedienKunstVerein in der PHOENIX Halle Oeffentliche Vortraege der TeilnehmerInnen (u.a. mit dem amerikanischen Science Fiction Autor Bruce Sterling) (im Rahmen der Ausstellung mit allem rechnen. Medienkunst aus Estland, Lettland, Litauen) ELECTRONIC BALTIKUM Hartware MedienKunstVerein in der PHOENIX Halle Samstag, 27. Mai 2006, Beginn: 20 Uhr / VVK: 8 ¤ veranstaltet von Sternschaltung, in Kooperation mit dem Hartware MedienKunstVerein und dem Museum am Ostwall (im Rahmen der Ausstellung mit allem rechnen. Medienkunst aus Estland, Lettland, Litauen) REKORDERRENNEN 2006 Samstag, 3. Juni 2006, ganztaegig Hartware MedienKunstVerein in der PHOENIX Halle www.rekorderrennen.de FUSSBALL FILME Samstag, 24. Juni 2006: 16 Uhr Das Todesspiel, Film, 50 Min. mit Filmautor Claus Bredenbrock Samstag, 1. Juli 2006: 16 Uhr Wie der Fußball nach Georgien kam, Videocollage, ca. 75 min., Ernst Schreckenberg Zwei Veranstaltungen der VHS Dortmund in Kooperation mit dem Hartware MedienKunstVerein in der PHOENIX Halle Dortmund KURZFILME UND -VIDEOS AUS DEM BALTIKUM Freitag, 14. + Samstag, 15. Juli 2006 Hartware MedienKunstVerein in der PHOENIX Halle Dortmund Freitag, 14. Juli 20:00 Uhr; Samstag, 15. Juli 20:00 Uhr + 21:30 Uhr Praesentiert von den Internationalen Kurzfilmtagen Oberhausen in Kooperation mit dem Hartware MedienKunstVerein und dem Museum am Ostwall KONTAKT Hartware MedienKunstVerein (Buero) Dr. Inke Arns, kuenstlerische Leiterin Susanne Ackers, geschaeftsfuehrende Leiterin Guentherstr. 65 44143 Dortmund Tel: 0231 - 823 106 [EMAIL PROTECTED] www.hmkv.de ORT DER AUSSTELLUNGEN (wenn nicht anders angegeben) Hartware MedienKunstVerein in der PHOENIX Halle Dortmund Hochofenstr. / Ecke Rombergstr. Dortmund-Hoerde (keine Postadresse!) OEFFNUNGSZEITEN waehrend der Ausstellungen Mi 11-17 Uhr, Do-So 11-20 Uhr FUEHRUNGEN Jeden Sonntag um 16 Uhr EINTRITT 4 Euro, 2 Euro ermaessigt (Rentner, Erwerbslose, Schueler, Studierende, Auszubildende) * * * * ENGLISH We're happy to anounce the Program of Hartware MedienKunstVerein Dortmund April - July 2006 (as of March 1, 2006) Please check www.hmkv.de for further information EXHIBITIONS ROSA BARBA: PRINTED CINEMA Schaufenster at Museum am Ostwall, Am Ostwall 7, 44122 Dortmund April 9 - 23, 2006 Opening hours: Tue - Fr, Sun
