星期四, 6月 28, 2007

Talk on 2 July

'Learn first-hand the creative adventures of these gobally respected design icons.'

Limited Seats available.
Register Today!

Date: 2 July 2007
Time: 2:00pm - 6:30pm
Venue: Hall, HKIVE (Morrison Hill)
6 Oi Kwan Road, Wanchai, Hong Kong
Medium: English
Fee: Student $20, HKDA Member $50, Non-member $100


Graphic -
Kashiwa Sato (Japan)
Kirsten Dietz (Germany)
Natasha Jen (USA)
Vince Frost (Australia)

Spatial -
Akihito Fumita (Japan)
Matali Crasset (France)

Product -
Pinky Lai (Germany)

Limited Seats, first-come-first-served
Please click here to download the registration form.

星期一, 6月 25, 2007

Introducing MediaBerkman

MediaBerkman features conversations with and talks by leading cyber-scholars, entrepreneurs, activists, and policymakers as they explore topics such as the factors that influence knowledge creation and dissemination in the digital age; the character of power as the worlds of governance, business, citizenship and the media meet the internet; and the opportunities, role and limitations of new technologies in learning.

MediaBerkman is a production of the Berkman Center for Internet & Society at Harvard Law School.

Automatic Update, an exhibition of five media installations made since 2000

Cory Arcangel. American, born 1978, Buffalo, Two Keystoned Projectors (one upside down) 2007. Installation projection video. © 2007 Cory Arcangel.

Automatic Update, an exhibition of five media installations made since 2000, features works of art drawn from the technology of the last decade. Employing computers, LCD screens, DVD players, digital video, and user-activated components, works in the exhibition show contemporary artists trying their hands at a range of newly invented art forms. The artists in the exhibition, Cory Arcangel, Xu Bing, Rafael Lozano-Hemmer, Jennifer and Kevin McCoy, and Paul Pfeiffer, make comical and sometimes absurd use of recent technologies while offering lighthearted critiques of today’s society.

The exhibition is on view from June 27 through September 3, 2007, in The Yoshiko and Akio Morita Gallery on the second floor, and is accompanied by a series of related films and videos that will be screened in The Roy and Niuta Titus Theaters from July 7 through September 2, 2007. Automatic Update and the accompanying film-and-video series are organized by Barbara London, Associate Curator, Department of Media, The Museum of Modern Art.

In the 1990s, artists worked in a range of newly invented art forms, often switching from analogue to digital equipment as the technology evolved. They built interactive installations and electronic publishing networks, and made art for the Internet. Technology advanced so quickly that in some cases the platform upon which an art form depended would disappear while a work was being made. By the year 2000, this quasi-revolutionary aura had dissipated, and media art had settled into the mainstream.

Ms. London says, “The wildness of the dot-com era infused media art with a heady energy. Automatic Update is about the vision of art drawn from technology of the last decade. The show features the work of hackers, programmers, and tinkerer-revisionists from North America, Europe, and Asia.”

Cory Arcangel (American, b. 1978) is known internationally for his subversive reworkings of obsolete computer systems. He participates in the artist group BEIGE and the Radical Software Group. This exhibition includes his newest work, on view for the first time, titled Two Keystoned Projectors (one upside down) (2007). It comprises a VCR (video cassette recorder) and two projectors that cast two fields of color and a channel number onto the wall. The work takes into consideration now-dated VCR technology and shows what media art might look like if the engine of consumer innovation had stalled at the development of the VCR.

Xu Bing (Chinese, b. 1955) works in a wide range of media, creating installations that question language and demonstrate how meaning and the written word can easily be manipulated. Here he presents a classroom-like installation, Book from the Ground (2007, work in progress), in which he arranges two desks and a computer against a text panel. Viewers may interact with the icons on the computer screen, using Xu’s sequences of simple images to construct “sentences” from a universal, visual language akin to hieroglyphs. Icons are ubiquitous symbols providing information without words, antidotes to misunderstanding in the enveloping sphere of world languages in the global electronic network. The work plays with the notion of the word “icon,” which in the past referred to objects of worship. Now the word refers more commonly to company logos and the thumbnail images on computer screens that are clicked to activate an application. With Book from the Ground, an ongoing project, the artist intends to foster communication through a common language of icons.

Rafael Lozano-Hemmer (Mexican/Canadian, b. 1967) develops large-scale interactive installations in public spaces, usually deploying new technologies and custom-made physical interfaces that use robotics, projections, sensors, and other electronic devices. Here he offers an interactive installation that is mounted on one wall of the gallery. Titled 33 Questions per Minute (2001–02), it consists of 21 small LCD screens linked together by cables. The cables are connected to a laptop computer that contains a grammatical software program. Viewers are invited to enter questions or words into the computer, which processes them and generates related questions on the screens at the rate of 33 per minute. Words or questions entered by viewers become part of the program’s database, expanding its vocabulary ad infinitum.

The husband-and-wife team of Jennifer McCoy (American, b. 1968) and Kevin McCoy (American, b. 1967) have worked together since 1990 in video, installation, media, and performance. Our Second Date (2004), draws upon Jean-Luc Godard’s film Week End (1967), which the McCoys saw together on their second date. A tabletop installation recreates the car accident scene in Godard’s film in miniature, while six video cameras film the scene from above. The footage is processed by a computer and played back live in both small and large scale in a projection on the adjacent wall.

Paul Pfeiffer (American, b. 1966) uses video, sculpture, and photography in works that dissect the role that mass media plays in shaping public consciousness. In a series of videos focused on professional sports events—including basketball and boxing—Pfeiffer digitally removes the bodies of the players from the games, shifting the viewer’s focus to the spectators, sports equipment, or trophies won. These intimate and idealized video works are meditations on faith, desire, and a contemporary culture obsessed with celebrity. For this exhibition, Pfeiffer deals with the subject of athletic stardom in John 3:16 (2000), an LCD monitor showing a digital video loop of basketballs hovering above the hoop, gleaned from countless NBA games. The title of this work refers to a passage from the Gospel of John in the Bible: “For God so loved the world, that he gave his only begotten Son, that whosoever believeth in him should not perish, but have everlasting life.” The conjunction of this religious sentiment with professional sports, and therefore with celebrity, suggests that markers of success often substitute for traditional objects of worship.

The accompanying Web site, www.moma.org/automaticupdate, is designed in a retro, 1990s, pixelated style and includes descriptions of works in the exhibition, interviews with some of the artists, and information about the film program. The site was designed by Matt Owens of Volumeone, New York. It also features a link to the Automatic Update page at http://del.icio.us/Automatic_Update where visitors may view and share bookmarks pertaining to the show.

A film-and-video series features works by video artists and film directors concerned with issues of media and technology. The films and videos will be screened in The Roy and Niuta Titus Theaters on dates between July 7 and September 2, 2007. Organized by Barbara London with Hanne Mugaas, Intern.

星期日, 6月 24, 2007

David Sylvian來港演出喎

今年香港的樂迷(尤其有咁上下年紀的)都好像有運行,從Roger Waters到The Cure到David Sylvian,這一眾曾伴隨我們成長、卻一直未曾想過可以在香港看到其音樂會的藝人,今年都不約而同地來了,實在叫我們感到老懷安慰,還得神落。


這場David Sylvian的The World Is Everything Tour音樂會,目前得悉的情況如下:

1. 日期:10月27日,地點:九龍灣HITEC Hall B。

2. 這是Sylvian以個人名義的巡迴演出,而非Nine Horses,所以他該會玩回不少他的個人經典作。

3. 伴奏樂手包括有Steve Jansen。

Lyotard, Habermas and the Virtue of the Universal

" Bare life/ what to be done "... at the moment the Documenta opens under a double concept remixed from Agamben and Habermas,

here is an international contribution and work from the heart of the civil war in Gaza

by Haidar Eid as professor of English and comparative literature Al Aqsa University

in Nicholas Ruiz III's kritikos http://intertheory.org/

星期二, 6月 19, 2007

Socially yours-Alternative Design Networking Seminar

Date: : 4-6 July 2007 (Wed – Fri)
Time: 4 July 7-10 pm / 5 July 2-5 pm / 6 July 7-10pm
Venue: Chiang Chen Studio Theatre, Hong Kong Polytechnic University
Admission: Free of charge; advance registration is necessary
The seminar will be conducted mainly in English with interpretation in Cantonese

The seminar, presented by Hong Kong Design Community and School of Indigenous Creativity, focuses on “design for social concern”, and examines cases of cultural research, collaborative production, and community participation. It expands the parameter of the conventional design notion to the nurture of social relations, by introducing new ideas into community life, and creating a platform for synthesis of knowledge. The seminar looks at the successful cases of International and Hong Kong practitioners, and opens the floor to designers and artists, craftspeople, NGOs, manufacturers, and interested public for the exploration of an experimental community.

Massive urban re-development in the recent years has driven a lot of local knowledge to extinct. How are we supposed to conserve and develop our community culture, everyday values and technique? How can we maintain the vitality of the small businesses? How can the residents take part in the process of re-generation? The concept of sustainable community has become a common concern of various sectors in the society.

To realize sustainable development demands a wisdom to converge resources from different sectors – the technique of craftsmen which fits the needs of the local residents, the indigenous knowledge that comes from living, the network and service schemes of NGOs, the observation and creativity of cultural practitioners, the business operation of the commercial sector – these are the resources that exist before our eyes, but become compartmentalized under the current policies.

The seminar runs for three days with different themes, featuring the case studies from International and Hong Kong designers and artists: from collaborative production between designers and community, to the link between vernacular cultural research and design, to citizen participatory project on environmental improvement. To us, this is also a blueprint of methodology to bridge different areas of knowledge and animates the community.

星期三, 6月 13, 2007

New Book : Imaginary Futures

Dr. Richard Barbrook's newest book Imaginary Futures traces the political history of the Internet, showing how this powerful tool's destiny was pre-determined by ideological leaders in America's 60s & 70s. Visit www.imaginaryfutures.net for more information.

星期一, 6月 11, 2007

Internet guerrilla performance


Igor Stromajer's Internet oeuvre is characterized by the substitution of the traditional theatre space by the use of the Internet for his intimate performance.

"Ballettikka Internettikka" realized by net.artist Igor Stromajer and net.composer Brane Zorman is an internet guerrilla performance. Differently from other net.art works by Stromajer, which are confined to fixed spaces on the Net, accessible from infinite co-ordinate combinations of time, place, and space, "Ballettikka Internettikka" combines the Internet based ubication with the artist's placement in an offline scenario (corporeally speaking), so the intervention takes place both online and offline, conceived as a complimentary effect.

This Internet situationist performance is a critique of elitist and bourgeois art spaces and consumer art culture and capitalism, by claiming public art spaces. This is achieved by entering secondary locations of established art institutions and then broadcasting the action via the Internet, taking advantage of the whole new scope that the Internet offers: a higher bandwidth, a complimentary effect to off-line activism, omni-directionality, and participation.

星期五, 6月 08, 2007

Cultuur 2.0 : International conference and lab on 30&31 May 2007

Cultuur 2.0 is a challenge, a 2-day international conference and laboratory to introduce a Web 2.0 mindset into the creative processes and strategies of cultural institutions.

‘Cultuur 2.0’ borrows from Web 2.0, the new generation of internet applications and practice that emphasize generating, sharing and classifying content, collective intelligence, collaboration, sharing, reviewing, ranking, rating, and empowering users. In which ways can such developments be applied in the cultural sector? Will cultural institutions generate other forms of content or approaches by embracing the Cultuur 2.0 mindset and connecting to the active internet user - or would this mean the end of culture as we know it?

Highlight of previous reviews from main organiser of Cultuur 2.0, Virtueel platform :

E-shrines -e-shrines by Saad

1.Exploding Borders
In the Netherlands, as everywhere else, the development of digital technology has coincided with a quiet revolution in the role of the museum in society. Heritage institutions have become more aware of their audience than ever before, thanks to the democratisation of the industry, a change in emphasis in collections away from the elite and the extraordinary and towards the everyday commonplaces of community and social history, and — last but certainly not least - the need to prove themselves worthy of funding. The latter factor has added urgency to the modern imperative to ‘find new audiences.’
At the same time, says Virtual Platform Director Cathy Brickwood, technology allows the once-insular heritage sector to address that increasingly important audience as never before. The question now is, how to do it, and what to say? Possible technological tools range from the ubiquitous (the internet, mobiles, and the PDAs which sometimes replace the familiar audio tour), to the up-and-coming (like the RFID tag, although hopefully not used to the extent of the pioneering Japanese museum which embedded no less than 7,000 into the floor of a single exhibition room), and the unique (the Memory Table designed by Mediamatic that was showcased in the VP workshop, the Take Away Museum, and which is now being used by Amsterdam’s Imagine IC in a project to preserve the memories of elderly Indonesian immigrants to the Netherlands). The choice is already extensive, developments are bewildering swift, and heritage professionals rarely know much about the latest technologies — except that they are lagging behind.

2. What gives between the curator and the informed amateur?

The networked society we currently live in is witnessing a change in the role played by cultural organisations. It is the heritage organisations in particular, with the traditional mandate to conserve material and develop knowledge that will have to adapt their strategy most. The digital classification of cultural heritage is not just a matter of building an online database. It is also a question of contextualising information and coming up with ways of sharing the knowledge created and experienced in those organisations.
Here a report on the workshop ‘Digital Cultural Heritage’, organised by the Virtueel Platform and Digitaal Erfgoed Nederland, as part of the Amsterdam New Media Institute Summer School 2004. The Workshop used practical examples of how these developments are changing relations in the cultural sector.

....It’s clear that in the future museums are going to become increasingly hybrid organisations.
The presentation model looks like this:

Level 1 presentation
Level 2 formats; enlargement/scenarios/stories
Level 3 selections; focus
Level 4 objects; standardised descriptions

In addition to these internal discussions, at an external level decisions are being made about strategic alliances and the forms of cooperation that will reinforce the museum’s own identity. In addition the museum will need to consider the need for a strong identity of its own, and whether it’s necessary to create a brand for the Rijksmuseum.
Heritage organisations are generally very much focussed on content. In the case of the Rijksmuseum it’s very interesting to see how they have exchanged a content driven strategy for a media strategy. This then raises the question: if the Rijksmuseum develops a media strategy on the grounds of its own media infrastructure, does the museum not then become a broadcaster? An independent media producer?....

3.The virtual community is the new lab

Waag society and V2_ are the most successful new media labs of the last fifteen years in the creative sector. It is without precedent that they have made their vision relevant to an organisation such as Surfnet, an academic node. From the margins to the academic discourse, how did that happen so quickly? The liberal climate of the eighties that supported the preconditions for the development from the public domain, has created space for this.

The climate has changed drastically now. The policy of tolerance has become narrower and the government propagates ideas like security and certainty. V2_ and Waag society are developing into independent knowledge environments in contrast to universities and corporate R&D labs. Their foremost challenge is in not wanting to become like them. University discourse is characterised by a textual approach to quality and this is recognised as being increasingly irrelevant to daily life; and with that also to policy making and the needs of government.

The question is which new creative strategies can develop in the present climate. Which strategies are able to respond to important social issues. How can we formulate the research questions embedded in current policy relating to everyday life? There are two important questions that have to be integrated: the creolization of the Netherlands, and the trend towards closed interfaces that are not accessible to professional amateurs (proam). If you’re looking for a new V2_, or Waag society you won’t find it. The new lab is the virtual community itself. The measure of openness of the alliances that come together there determines its role as the mover of the creative industry.

4. THE ANTI WEB 2.0 MANIFESTO from my favorite Andrew Keen (see link in Punk), author of the new book " Cult of the Amateur"
summary of his points:"The Adorno for idiots"

5. On the lighter side : Web 2.0 remixed

星期一, 6月 04, 2007

Apple welcomes students to iTunes U

via ars technica

Along with announcement of iTunes 7.2 and DRM-free music, Apple has also announced a new section in the iTunes Store, iTunes U.

“iTunes U makes it easy for anyone to access amazing educational material from many of the country’s most respected colleges and universities,” said Eddy Cue, Apple’s vice president of iTunes. “Education is a lifelong pursuit and we’re pleased to give everyone the ability to download lectures, speeches and other academic content for free.”

Working with universities in the US and Canada, 16 institutions are currently featured. This includes Duke, MIT, Stanford, and Berkeley, with each college creating its own "university" within the iTunes Store. While educational material is featured, video and audio podcasts also cover other aspects of campus life, such as athletic events and institution-centric material. Going to the Texas A&M University section, one can download podcasts from the George Bush Presidential Library Center, though sadly there is no accompanying celebrity playlist by the 41st President of the United States.

Browsing through the individual sites, the content varies. Stanford and MIT are among the better-developed, but even those universities have only a fraction of the content possible when considered against the potential offering. Considering this is the first day of "class" at iTunes U, this is not particularly surprising. Yet this is not a new idea. Institutions like MIT, Stanford, and Berkeley have been providing podcasts for years, though the questions relating to the effect on college life, such as the need to go to class when you can listen to lectures in your bed, have yet to be answered. Perhaps it is appropriate then that the top download at iTunes U is an introduction to Existentialism. "Being in the university" may never be the same again.

As for Apple, this is yet another coup for the company that has been on a multi-year roll. It has created yet another closed ecosystem involving the iPod, which means more content to fill those ubiquitous devices. And as long as you are downloading some free class material, why not browse for some music to buy? Apple goes to the head of the class again.

星期日, 6月 03, 2007

大声展07·听游记(Moving Soundscape)开始征集观众报名

听游记是一组利用行驶的汽车来创作的声音艺术作品。或者说,听游记是一组利用城市来创作的声音艺术作品。这个想法也许要追溯到1960年代的达达追随者和激浪派艺术家,甚至更早,到1913年,路易吉·卢索诺(Luigi Russolo)的《噪音的艺术》(The Art of Noise);但也许只是我们对周遭环境的一种本能反应。探索我们身处其中的城市、以新的角度加入它、和它对话、和它共谋;或者,探索我们的身体,在运动中,在封闭的小空间里检视它,让它体验。这都是可能的。

请先阅读各个城市的听游记方案,然后选择你想要参与的作品,告诉我们你希望参与的日期(请注意大声展在各城的开幕和持续日期)和备选日期(你也可以写上为 “随便哪天我都愿意参加”);当然,你需要提供简单的自我介绍、职业、年龄、联系电话。请注意,在报名邮件主题栏内填写“听游记报名”。