星期五, 2月 23, 2007
Intimacy: Representations in literature and the visual arts
"Since their early adolescence, they’ve learned to modulate their voice to address a set of listeners that may shrink or expand at any time: talking to one friend via instant message (who could cut-and-paste the transcript), addressing an e-mail distribution list (archived and accessible years later), arguing with someone on a posting board (anonymous, semi-anonymous, then linked to by a snarky blog). It’s a form of communication that requires a person to be constantly aware that anything you say can and will be used against you, but somehow not to mind.".....
....."Clay Shirky, a 42-year-old professor of new media at NYU’s Interactive Telecommunications Program, who has studied these phenomena since 1993, has a theory about that response. “Whenever young people are allowed to indulge in something old people are not allowed to, it makes us bitter. What did we have? The mall and the parking lot of the 7-Eleven? It sucked to grow up when we did! And we’re mad about it now.” People are always eager to believe that their behavior is a matter of morality, not chronology, Shirky argues. “You didn’t behave like that because nobody gave you the option.”"
In a sudden reversal of fortune, newspapers have taken to online video and might just beat TV news at its own game.
W e think we know that the professional news media, especially newspapers, are obsolete, that the future is all about (excuse the expression) you—media created by amateurs. But such PowerPoint distillation tends to overlook the fact that mainstream media are not all simply shriveling and dying but in some instances actually evolving. And in evolution, there are always fascinating transitional iterations along the way. Such as newspapers’ suddenly proliferating forays into online video. (And now magazines: Time Inc. just announced a new “studio” to develop Web video.)
Whereas the YouTube paradigm is amateurs doing interesting things with cameras, the newspapers’ Web videos are professional journalists operating like amateurs in the best old-fashioned sense. One of the Times’s new Web-video stars, David Carr (as the jolly-noir, movie-tasked Carpetbagger), recalls that when the Times’ video operation started fifteen months ago, his bosses said, “ ‘Let’s give it a whirl.’ Which is the exact opposite of the Times’ usual DNA. ‘Let’s give it a whirl’—that’s not something that comes up a lot.”......................
香港藝術學院與Para/Site 藝術空間呈獻，美國觀念藝術家 Lawrence Weiner的講座，將於二月二十七日假香港藝術學院教學中心舉行。
關於Lawrence Weiner出生於紐約， Lawrence Weiner 是當代其中一位最具代表性的藝術家，從六十年代開始便成為觀念藝術的代表性人物。他認為觀者只需閱讀藝術品的文字抽述，便足以
經驗該作品。不久之後 Lawrence Weiner 便開始利用文字作為他創作理念的主要載體。像其他於六七十年代成名的觀念藝術家般，Lawrence Weiner 善於探究新的藝術形式和表現手法，挑戰人們對藝術品本質上的認知及藝術品與觀者間的關係。單一的字體，單純使用文字和標點符號，構成 Lawrence Weiner 的牆上裝置作品，及他唯一的創作媒介。他甚少自行把文字畫到牆上，認為只要讓工匠按指示把文字畫上牆就可以了。雖然他的作品意在探究文字作為獨立藝術形式的能，但其文字短句往往意有所指地與牆周遭的環境及觀者的經驗有直接的聯繫。
Lawrence Weiner 的作品曾在全球多個重要的藝術館展出，並將於二零零七年終在Whitney Museum of American Art 舉行回顧展。
佳士得榮譽贊助世界知名的觀念藝術家Lawrence Weiner 首次香港個人展覧及講座。
Conducted in English 英語主講
Free Admission. Seat reservation is required. 免費入場，敬請留座。
Please email to firstname.lastname@example.org or call 2517 4620 to reserve your seat. 請電郵至info@para-site.org.hk 或致電2517 4620登記留座。
Enquiry查詢 : ParaSite/Art Space Para/Site 藝術空間 - 2517 4620 / Hong Kong Art School 香港藝術學院 - 2922 2822
星期二, 2月 20, 2007
PULSE New York will run concurrently with The Armory Show (23 to 26 Feb. @12tth Ave,55th Street) from February 22 through 25, 2007, taking place at the 69th Regiment Armory Building located at East 26th Street and Lexington Avenue. In its second year, PULSE New York will feature high-quality works from 63 established and emerging galleries from 15 countries, including additions from Israel, China and Korea. Thirteen of the exhibiting galleries were chosen through an open application and selection process by the PULSE committee members to exhibit in the MPULSE?section.
PULSE New York will also feature site-specific installations by the following artists (from PULSE sponsor gallery):
Jason Hackenwerth, Untitled, 2007, presented by SurroundArt and PULSE
Satch Hoyt, Portcullis, 2007, presented by SurroundArt and PULSE
William Kentridge, Bird Catcher, 2006, courtesy of BAM
Golan Levin, Petroglyphic Reflections, courtesy of bitforms gallery
PULSE Miami ULSE Prize?winner Travis Somerville, Barn Dance, 2007, courtesy of Nathan Larramendy Gallery
Beside young or emerging artist, the art world is now grooming the young and emerging collectors....wow, it is the art world.
星期三, 2月 14, 2007
Combining music and mobile technology promises exciting future developments in a rapidly emerging field. Devices such as mobile phones, Walkmans and iPods have already brought music to the ever-changing social and geographic locations of their users and reshaped their experience of the urban landscape. With new properties such as ad hoc networking, Internet connection, and context-awareness, mobile music technology offers countless new artistic, commercial and socio-cultural opportunities for music creation, listening and sharing. How can we push forward the already successful combination of music and mobile technology? What new forms of interaction with music lie ahead, as locative media and music use merge into new forms of everyday experiences?
This series of annual workshops began to explore and establish the emerging field of mobile music technology in 2004. This fourth edition of the Mobile Music Workshop in 2007 offers a unique opportunity to participate in the development of mobile music and hands-on experience of cutting-edge technology.
This year’s workshop is hosted by STEIM and Waag Society in Amsterdam, The Netherlands, and partners with the Futuresonic Festival in Manchester, England, taking place later the same week. The programme of the workshop will consist of keynote presentations from invited speakers, peer-reviewed paper presentations, poster sessions, in-depth discussions about the crucial issues of mobile music technology, demos of state-of-the-art projects, break-out sessions and live events. Registered participants will take part in hands-on sessions conducted by leaders in the field. In addition to traditional presentation sessions, the programme includes events open to a general audience, facilitating the presentation of artworks and technological breakthroughs to a wider public.
The Mobile Music Workshop sets the stage for a collaboration that brings together leading institutions in both experimental electronic music and mobile media. STEIM (the studio for electro-instrumental music) is a centre for electronic music production well known in the performing arts. STEIM promotes the idea that Touch is crucial in communicating with electronic and digital arts technologies, a vision that over the years has given birth to physical, sensor-based musical instruments. Waag Society is a research and development institute in the fields of networked art, education and creative industries. Waag develops platforms for artists to reach society through networked collaboration, media streaming, and locative media.
CALL FOR PARTICIPANTS AND WORKS
We invite practitioners, artists, designers, hackers and researchers from all areas, including music, technology development, new media, sound-art, music distribution, cultural/media studies, locative media and industry to submit work and register to attend. Don't miss this chance to help shape the mobile music landscape of the future! Participants are encouraged to submit their work in mobile music technology to the categories below. The partnership with the Futuresonic Festival allows those coming to Europe to make a single trip to attend both events.
We invite submissions of workshop papers presenting new projects, approaches or reflections exploring the topic of mobile music. Potential submissions could include but are not limited to mobile music systems or enabling technologies, interface design, legal issues, user studies, ethnographic fieldwork, social implications, art pieces and other areas relevant to mobile music.
Accepted paper authors will be given a time slot during the workshop for presentation and discussion of their work. Format: up to 8 pages in ACM SIG publications format (shorter papers welcome). For templates, see http://www.acm.org/sigs/pubs/proceed/template.html
We also invite the contribution of posters that document work-in-progress projects or ideas in similar areas of mobile music technology as the papers.
Posters will be on display during the duration of the conference. We will arrange a poster presentation session where attendees will be able to discuss the works with the authors. Format: 2 pages in ACM SIG publications format
We also invite submissions of work to the demo category. Besides encouraging paper and poster presenters to bring a demonstration as a complement their presentation, we encourage submissions of stand-alone demos of mobile music systems or enabling technology. Their implementation should be ready enough to be demoed, and will possibly be shown to the general public during open sessions depending on their robustness. Format: 2 pages in ACM SIG publications format.
Please email your submission as a PDF file in the appropriate format to submissions[at]mobilemusicworkshop.org In the subject line, state MMW SUBMISSION followed by PAPER, POSTER or DEMO and the name of the main author. Submissions will be peer-reviewed by a committee of international specialists in the fields of mobile music, interactive music, and locative media.
Submission deadline: 12th March 2007
Notification of acceptance: 2nd April 2007
Registration deadline: 16th April 2007
Final submission deadline: 16th April 2007
REGISTRATION & FEE
This year’s workshop will have both closed sessions for registered participants and sessions open to the general public. The number of participants for the closed sessions of the workshop is limited to 50 places. Accepted submitters are given priority, other participants are accepted on a first-come first-served basis. Registered participants will have automatic access to all sessions of the workshops. The closed sessions of the workshop will be charged both a regular and a reduced student fee, similar to the last edition’s fees.
Registration deadline: 16th April 2007
The open sessions will be advertised in more detail closer to the event. The fee for the open sessions will be event-based. Scheduling and registration fees will be coordinated with Futuresonic to allow participants to easily attend both events.
* International Steering Committee
Atau Tanaka (Sony CSL Paris, France)
Frauke Behrendt (University of Sussex, UK)
Lalya Gaye (Viktoria Institute, Sweden)
* Local Organising Committee
Kristina Andersen (STEIM, The Netherlands)
Robert van Heumen (STEIM, The Netherlands)
Ronald Lenz (Waag Society, The Netherlands)
3rd OK.VIDEOJakarta International Video FestivalIndonesia
VIDEO IN / VIDEO OUT / TV SCRATCHING / VIDEO SHOP / WORKSHOPS SERIES
星期一, 2月 12, 2007
Avant-garde architects Shusaku Arakawa (an artist) and Madeline Gins (a poet) have recently unveiled a childishly wacky/cool apartment complex in the Tokyo suburb of Mitaka. Curiously, the nine apartments in it are meant to be uncomfortable. "People, particularly old people, shouldn't relax and sit back to help them decline," Arakawa told Newsweek International. What that means is the nine apartments are shiny and plastic-like with big geometric shapes -- like a McDonalds Playland laid out after a little too much peyote. From Newsweek:
Inside, each apartment features a dining room with a grainy, surfaced floor that slopes erratically, a sunken kitchen and a study with a concave floor. Electric switches are located in unexpected places on the walls so you have to feel around for the right one. A glass door to the veranda is so small you have to bend to crawl out.And they cost $750,000, at least double what other places in the same nabe go for. Now that's uncomfortable.
Plenty of gadgets have borrowed from the iPod's design, so why shouldn't buildings get in on this action, too? The iPad (how original) will be a 23-storey residential tower with a look inspired by the Apple iPod. Crazy as that already sounds, here's the really good part: a "docking station" is part of the design! Designed by James Law Cybertecture International in Hong Kong, the $800 million tower will be built by Omniyat Properties, a Dubai-based developer.
Never mind that the iPod family will be in its Nth generation by the time this modern monolith is finished — can you imagine living in the iPad for years after that? What about when all our media fits in a memory wafer the size of your fingernail and the iPod is completely obsolete? Where will you live then, cool guy? Stop trying to live out Tron! It's a movie… it's make-believe. — Peter Pachal
星期日, 2月 11, 2007
This exhibition is co-organized with nonprofit art institutes, academic community and various intellectual observers from all over the world with subtile observation and independent opinions. Exhibition works are transparently collected all by means of internet. The First VENICE Cyber Biennale is divided into 5 regions: Europe, America, Africa, Asia, and Australia. The purpose of the division is to facilitate audience to get a better understanding of different regional visual art and cultural identity. This exhibition will be held simultaneously with VENICE Biennale in 2007.
1. There is no restriction to applicants’ nationality, age, gender or occupation, either in person or in group is welcomed.
2. There is no exhibiting works quantity limit for participant(s), each exhibiting works is regarded as a unit.
3. All exhibiting works of personal or group participants’ must be original creation
4. Either individual applicant or allied authors applicants can enter for the exhibition.
There is no restriction to work formats: drawing, sculpture, installation, project, photography, article,audio,video, performance etc.
1. Any format that can be transmitted by internet
2. Should you have further question, please feel free to contact organizing committee of VENICE Cyber Biennale.
1. Apply and submit works date: From January 1, 2007 ~ April 30, 2007 (Date is subject to the local mail stamp chop in terms of airmail)
2. Shortlist announcement date: May 30, 2007
3. Opening Date: June 2007
1. Award crowned by organizer committee (is judgd by the host organizetion)
2. Observor Prize (based on the votes of organization and observers)
3. Award crowned by netizen (based on votes from internet)
>> Application Process
1.Filling the application forms.
Applicant is required to visit VENICE Cyber Biennale website www.vchiennale.org and download application forms. Fill out the forms with information as fact (Each work is required to have its author’s name(s) and description)
(1) a. exhibiting works in form of computer files should be submitted by E-mail, please send it with the downloaded application form.
b. Should exhibiting works in electronic file be submitted by airmail, it can be attached with electronic application form.
(2).Please submit the original exhibiting works by either E-mail or airmail to “The First VENICE Cyber Biennale committee”
a. E-mail to：email@example.com (files no bigger than 10 MB)
b. Mail to: Room 301, No.27th Building, No 58 Macau Road, Putuo District, Shanghai, 200060, China (files bigger than 10 MB)
Contact Person: He Dan
(3). Anyone who is interested in exhibiting in The First VENICE Cyber Biennale is required to submit works to Organizing Committee on or before April 30, 2007 (date is subject to the local mail stamp chop). If the deadline is missed by applicant, it is regarded as self abjuration without further notice.
(4). Applicants will receive reply by email in 15 working days after submission by email.
Applicant will receive reply by email in 30 working days after submission by airmail. Please contact Organizing Committee if there is no reply.
(5). All submitted works will not be returned, applicants are suggested to keep copy themselves.
星期五, 2月 09, 2007
Much watched architect Group : MVRDV is showing Piece by Piece from 06.02.2007 - 10.03.2007. "Argos is proud to present the first Belgian exhibition of the internationally acclaimed Rotterdam-based architects MVRDV. The exhibition follows the refurbishment of Argos’ new exhibition space by MVRDV and aims to introduce the work of the group in a broader framework. MVRDV was set up in 1991 by Winy Maas, Jacob van Rijs and Nathalie de Vries. Over the years MVRDV have become internationally known for their designs and studies in the fields of architecture, urbanism, landscape design, and particularly for their exploration of density, urban data, open space and the environmental impact of building and architecture. The exhibition at Argos will illustrate the multifaceted practice of MVRDV through the inclusion of maquettes, photographs, drawings, materials and videos and will demonstrate the multi-dimensional, research-based nature of their approach to architecture and design." Beside this Argos is also showing Hans op de Beeck All Together Now... (2005, 6’20”, video, colour, sound) All together now… is a tragicomic portrait of three groups of people attending different social gatherings. The camera pans slowly along the three table settings, each depicting a separate event: the first group, comprised of people in their late seventies is gathere dafter a funeral, at the table set with coffee and cakes, the second presents an elaborate wedding party with the bride and groom and their families, and the final setting shows a birthday party for a well-to-do pater-familias in a tasteful designer setting. This 6’20” choreography of actions in miniature, conversations and knowing glances, clarifies the relations around the table. Some of the characters are comic, others rather tragic or touching. All together now… is a contemporary portrait of human beings around the table, in which the sobering, post-party emptiness can be sensed while the feast is still in progress."
Argo has been distributing art film and dance video in older times. The new Argo program is still very Brussel/ Belgium w strong sense of history in art, dance and poetry.... I am looking foreward to their archives.
星期四, 2月 08, 2007
Interesting new art project by the god-father of ambient and post-punk Brian Eno.
The project uses custom software and scanned Eno's paintings to create new visuals that are synchronized with ambient sound.
For some reason if you google for '77 million paintings' you won't be able to find the official project web site, so here it is: http://77millionpaintings.com/