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© Genz, Lindner / transmediale
Gabriella Coleman
on screen: poem by Dana Buchzik
Panel in the symposium strand in/compatible publics
Panel with Jacob Appelbaum (us), Gabriella Coleman (us), Dana Buchzik (de) and anonymous
Moderated by Tatiana Bazzichelli (it/de)
Chaired by Krystian Woznicki (pl/de)
In the book Pranks! (Re/Search, 1987), V. Vale and Andrea Juno pointed out that pranks, tricks and ludicrous actions are functional to express a continual poetic renewal, using the elements of surprise, irony and social criticism. Since that time the strategy of anonymity, as the critique of a rigid identity, and the creation of a multi-use philosophy of sharing, has been functional in redefining art practice through disruptive interventions, as well as served as a tool to reflect on the meaning of authority. Today the strategy of anonymity is still a vehicle to question the institutional media system and has often plunged it into crises by exposing its bugs and highlighting its vulnerability. But, mixing up with contemporary social media culture, being anonymous means to produce a new aesthetics – new linguistic codes – where poetic images, disruptive strategies (such as trolling and DDoSing) intertwine with multiple possibilities for lulz and pleasure. Is anonymity a tool for distributed and viral political struggle or is it the endless trick of an intangible crowd of pranksters?
Individual Presentation Descriptions
Dana Buchzik (de)
Descriptive text on the panel presentation:
My presentation will deal with anonymity as a healthful intervention. Based on a true incident, the story is told from the perspective of a phobic girl who isn't capable of mingling with people or even leaving the house. After effectless hospital treatments, she finds her way back to life by talking to strangers on the internet. Instead of only exposing her diseased parts, she tells stories about the self she wants to be, using the potential of anonymity to create a healthier self.
Every year for almost two centuries, a whole street in Genzano di Roma, Italy is covered with a carpets of flowers by locals and artists. This morning I went along to check it out during the finishing touches to the display.
Comissão de Direitos Humanos e Legislação Participativa (CDH) promove audiência pública para debater sobre: "O Estatuto do Trabalho", com foco no arcabouço fiscal, no Fundo de Manutenção e Desenvolvimento da Educação Básica (Fundeb), no piso nacional da enfermagem e nos serviços públicos.
Mesa:
secretária-geral do Sindicato dos Servidores Federais do Rio Grande do Sul (Sindiserf/RS), Eleandra Raquel da Silva Koch;
subsecretária de Política Fiscal do Ministério da Fazenda, Débora Freire;
presidente da CDH, senador Paulo Paim (PT-RS);
presidente da Confederação dos Trabalhadores no Serviço Público Municipal (Confetam), Jucelia de Jesus;
membro do Conselho deliberativo do PROIFES-Federação, Jairo Alfredo Genz Bolter;
presidente do Sindicato dos Professores de Paulista (Sinprop) e da Frente Norte e Nordeste pela Educação, Gilberto Sabino.
Foto: Jefferson Rudy/Agência Senado
la composizione multimediale dell'infiorata di Genzano
www.youtube.com/watch?v=gtQyXej2AFQ
A Genzano ogni anno, da oltre due secoli, si tiene nel mese di giugno l'Infiorata, immenso tappeto floreale che si estende, articolandosi in vari quadri, per circa 2000 mq sulla centrale Via Italo Belardi (già Via Livia).
Per la realizzazione dei quadri, disegnati sul selciato, occorrono, oltre alle essenze vegetali, almeno 350.000 fiori; i singoli petali vengono utilizzati dagli infioratori così come i colori di una tavolozza dai pittori: il giallo della ginestra, l'azzurro della torrena, il rosso dei garofani, il verde del bosso e del finocchio selvatico.
La manifestazione si articola in vari fasi: l'ideazione e la preparazione del bozzetto, la raccolta dei fiori e delle essenze vegetali, lo "spelluccamento" - separazione dei petali dalla corolla e loro conservazione nelle grotte del Comune - i disegni a terra (il sabato sera), la posa in opera dei petali (la domenica mattina), l'Infiorata completata (primo pomeriggio della domenica), la Processione del Corpus Domini (domenica sera), ed infine lo "spallamento" - quando i bambini correndo dalla scalinata della Chiesa di Santa Maria dìsfano i quadri infiorati.
Storicamente l'Infiorata è una festa strettamente collegata alla celebrazione cristiana del Corpus Domini e le sue origini risalgono al XIII secolo, quando in occasione della Processione del SS. Sacramento "si spargevano alla rinfusa dei fiori a piene mani".
Il 29 giugno 1625, poi, a Roma, nella Basilica Vaticana, per iniziativa di Benedetto Drei, Capo della Floreria Apostolica, per dare maggiore lustro alla Festa di San Pietro e Paolo, ebbe inizio la tradizione di decorare la chiesa con fiori disposti a mosaico, usanza questa che si estese in molti paesi cattolici.
Every year for almost two centuries, a whole street in Genzano di Roma, Italy is covered with a carpets of flowers by locals and artists. This morning I went along to check it out during the finishing touches to the display.
© Genz, Lindner / transmediale
Krystian Woznicki moderating the panel in the symposium strand in/compatible publics
Panel with Jacob Appelbaum (us), Gabriella Coleman (us), Dana Buchzik (de) and anonymous
Moderated by Tatiana Bazzichelli (it/de)
Chaired by Krystian Woznicki (pl/de, image)
In the book Pranks! (Re/Search, 1987), V. Vale and Andrea Juno pointed out that pranks, tricks and ludicrous actions are functional to express a continual poetic renewal, using the elements of surprise, irony and social criticism. Since that time the strategy of anonymity, as the critique of a rigid identity, and the creation of a multi-use philosophy of sharing, has been functional in redefining art practice through disruptive interventions, as well as served as a tool to reflect on the meaning of authority. Today the strategy of anonymity is still a vehicle to question the institutional media system and has often plunged it into crises by exposing its bugs and highlighting its vulnerability. But, mixing up with contemporary social media culture, being anonymous means to produce a new aesthetics – new linguistic codes – where poetic images, disruptive strategies (such as trolling and DDoSing) intertwine with multiple possibilities for lulz and pleasure. Is anonymity a tool for distributed and viral political struggle or is it the endless trick of an intangible crowd of pranksters?
Individual Presentation Descriptions
Dana Buchzik (de)
Descriptive text on the panel presentation:
My presentation will deal with anonymity as a healthful intervention. Based on a true incident, the story is told from the perspective of a phobic girl who isn't capable of mingling with people or even leaving the house. After effectless hospital treatments, she finds her way back to life by talking to strangers on the internet. Instead of only exposing her diseased parts, she tells stories about the self she wants to be, using the potential of anonymity to create a healthier self.
© Genz, Lindner / transmediale
Any kind of media installation based on electronic systems or micro controllers requires some sort of printed circuit board (PCB). To get a PCB one has to manufacture them. Industrial standards are a challenge and it takes some time and money to get them ready, ending up with a lot of dangerous chemicals, not to mention the hundreds of tiny holes one has to drill. Paperboards or PaperPCBs are a smart way to spare you the trouble. Wolfgang Spahn developed them as an open hardware system that allows everyone to create PCBs quite easily (dernulleffekt.de). One can design and modify them on any computer using a simple drawing programme like Gimp or Photoshop. After printing the circuit design, one just sticks it on a standard protoboard – and voilá: a proper and solid PCB has come into existence. PaperPCBs are a perfect extension to the already existing Arduino system and they are a perfect substitute if one likes to create an individual paper version of the Arduino. In the workshop Wolfgang Spahn will teach how to create and modify PaperPCBs. As an outcome of the workshop every participant will have designed and build his or her own Paperduino-Uno. Please bring your laptop (complete with Arduino IDE) and an Arduino. You may also choose a picture beforehand that you like to print on your circuit board.
© Genz, Lindner / transmediale
Panel in the symposium strand in/compatible publics
left to right: Anonymous (upper left in the picture), Gabriella Coleman (us), Jacob Appelbaum (us), moderator Tatiana Bazzichelli (it/de)
also with Dana Buchzik (de) sitting in the audience
Chaired by Krystian Woznicki (pl/de)
In the book Pranks! (Re/Search, 1987), V. Vale and Andrea Juno pointed out that pranks, tricks and ludicrous actions are functional to express a continual poetic renewal, using the elements of surprise, irony and social criticism. Since that time the strategy of anonymity, as the critique of a rigid identity, and the creation of a multi-use philosophy of sharing, has been functional in redefining art practice through disruptive interventions, as well as served as a tool to reflect on the meaning of authority. Today the strategy of anonymity is still a vehicle to question the institutional media system and has often plunged it into crises by exposing its bugs and highlighting its vulnerability. But, mixing up with contemporary social media culture, being anonymous means to produce a new aesthetics – new linguistic codes – where poetic images, disruptive strategies (such as trolling and DDoSing) intertwine with multiple possibilities for lulz and pleasure. Is anonymity a tool for distributed and viral political struggle or is it the endless trick of an intangible crowd of pranksters?
Individual Presentation Descriptions
Dana Buchzik (de)
Descriptive text on the panel presentation:
My presentation will deal with anonymity as a healthful intervention. Based on a true incident, the story is told from the perspective of a phobic girl who isn't capable of mingling with people or even leaving the house. After effectless hospital treatments, she finds her way back to life by talking to strangers on the internet. Instead of only exposing her diseased parts, she tells stories about the self she wants to be, using the potential of anonymity to create a healthier self.
Every year for almost two centuries, a whole street in Genzano di Roma, Italy is covered with a carpets of flowers by locals and artists. This morning I went along to check it out during the finishing touches to the display.
la composizione multimediale dell'infiorata di Genzano
www.youtube.com/watch?v=gtQyXej2AFQ
A Genzano ogni anno, da oltre due secoli, si tiene nel mese di giugno l'Infiorata, immenso tappeto floreale che si estende, articolandosi in vari quadri, per circa 2000 mq sulla centrale Via Italo Belardi (già Via Livia).
Per la realizzazione dei quadri, disegnati sul selciato, occorrono, oltre alle essenze vegetali, almeno 350.000 fiori; i singoli petali vengono utilizzati dagli infioratori così come i colori di una tavolozza dai pittori: il giallo della ginestra, l'azzurro della torrena, il rosso dei garofani, il verde del bosso e del finocchio selvatico.
La manifestazione si articola in vari fasi: l'ideazione e la preparazione del bozzetto, la raccolta dei fiori e delle essenze vegetali, lo "spelluccamento" - separazione dei petali dalla corolla e loro conservazione nelle grotte del Comune - i disegni a terra (il sabato sera), la posa in opera dei petali (la domenica mattina), l'Infiorata completata (primo pomeriggio della domenica), la Processione del Corpus Domini (domenica sera), ed infine lo "spallamento" - quando i bambini correndo dalla scalinata della Chiesa di Santa Maria dìsfano i quadri infiorati.
Storicamente l'Infiorata è una festa strettamente collegata alla celebrazione cristiana del Corpus Domini e le sue origini risalgono al XIII secolo, quando in occasione della Processione del SS. Sacramento "si spargevano alla rinfusa dei fiori a piene mani".
Il 29 giugno 1625, poi, a Roma, nella Basilica Vaticana, per iniziativa di Benedetto Drei, Capo della Floreria Apostolica, per dare maggiore lustro alla Festa di San Pietro e Paolo, ebbe inizio la tradizione di decorare la chiesa con fiori disposti a mosaico, usanza questa che si estese in molti paesi cattolici.
© Genz, Lindner / transmediale
www.transmediale.de/content/joshua-light-show-2
The man behind Oneohtrix Point Never is the Brooklynite Daniel Lopatin. His album Returnal (Editions Mego, 2010) was made using vintage synthesizers to create widescreen ambient landscapes. His latest album Replica (Mexican Summer, 2011) manipulates samples from 1980s TV commercials to construct evocative tracks of unexpected emotional depth. Although Lopatin has complained about people using the word "nostalgic" to describe his music, the term is rather apt. In the best sense, Replica does indeed conjure a feeling of nostalgia: as if someone has hacked into your vaguest, most distant memories and reassembled them as clear recollections of things that never really happened.
pointnever.com/
This event is a collaboration between transmediale and CTM – Festival for Adventurous Music and Related Arts.
Hiking below Mt. Mitchell with my daughter and a couple of dogs - we came to this clearing where we could see both the parkway and the North Fork Reservoir.
Gregg Witt and Derek Baird explain the EMV model in their book The Gen Z Frequency. Reach is unique visits. Promotion Type is mentions. Interaction Type is the number of direct interactions. Cost per engagement is market-driven rates for a like, comment, share, retweet, or video view. Illustration by Mike Carnevale.
My younger uncle, at my grandparents 50th wedding anniversary.
Taken with Revueflex 3000 SL analog camera (identical to the Chinon CX camera). Kodak Tmax 100 Pro film (7,5 years expired).
No post-editing. Negative scanned with Epson Perfection V500 Photo, cropped and downsized for the web.
© Genz, Lindner / transmediale
www.transmediale.de/content/liquid-state-machine-wolfgang...
Borrowing terms from the cognitive and computer sciences, Liquid State Machine usually describes a soup of connected nodes, a situation with inputs, nonlinear functions and outputs which computes something or assists in its computation.
In this instance, the performance space becomes the computational soup bucket, an experimental Space-Noise-Continuum based on the connections between the plentiful nodes of both the kinetic-electromagnetic-noise apparatus of Martin Howse and the analogue/digital projection-machines of Wolfgang Spahn.
The performance begins with the subtle influence across these two distinct systems, arriving at an ultimate feedback between light (waves) and sound. LSM presents a play with transformations between distinct physical system domains.
Series:"#safersexting"
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School project on the topic "#GenZ". The series should show how easily you can pick up someone or be picked up by someone nowadays...
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📷 shows Jaclyn Taylor. Photos are edited by me. This is #2 of a series, more will follow.