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Nell’ Anno Internazionale delle Foreste, la tradizionale manifestazione dell’Infiorata di Genzano, divenuta negli ultimi anni un appuntamento internazionale d’arte e di cultura, dedica alla campagna Deforestazione Zero di Greenpeace un quadro di fiori.
TESLA Festival de Música Electrónica y Experimentación Sonora organizado por PRODUCCIONES INFAMES que tuvo lugar el sábado 21 de febrero´15 en León.
Sesión vespertina en el Museo de León con la actuación en directo de FIBONACCI grupo electrónico de reciente creación compuesto por los artistas leoneses Notone y Genzo P.
Toda la información sobre el Festival TESLA
Álbum TESLA FESTIVAL DE MÚSICA ELECTRÓNICA Y EXPERIMENTACIÓN SONORA - LEÓN 21.02.015
© 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.
© Genz, Lindner / transmediale
With presentations by Dieter Daniels (de), Thomas Munz (de), Rudolf Frieling (de/us), Susanne Jaschko (de)
Moderated by Baruch Gottlieb (ca/de)
In computer jargon, to "unarchive" something is to de-compress data, such as from a zip file or on a backup drive. The archive in this form is an unaccessible, incompatible being. It is inherently in need of unpacking. Join us in this session in an attempt to dig into the 25-year old transmediale archive and unpack some of its impenetrable secrets.
Initially, transmediale Advisory Board member Dieter Daniels will place the history of the festival within the context of the emergence and subsequent institutionalisation of media arts festivals in Germany and abroad. Baruch Gottlieb will then talk about his work with the transmediale archive as such, explaining how it is being digitised, disseminated online and given a presence in the current festival programme. A more curatorial perspective on past festivals will be given by Thomas Munz, former transmediale film and video curator, who will focus on unpacking works shown at transmediale from the late 1990s onwards. Finally, two special guests from different formative and transitional eras in the festival history: curators Rudolf Frieling and Susanne Jaschko who have been asked to each "unarchive" an item from the transmediale history.
© Genz, Lindner / transmediale
With: Susanne Jaschko (de) (image), Rudolf Frieling (de/us), Thomas Munz (de), Dieter Daniels (de), moderator Baruch Gottlieb (ca/de)
In computer jargon, to "unarchive" something is to de-compress data, such as from a zip file or on a backup drive. The archive in this form is an unaccessible, incompatible being. It is inherently in need of unpacking. Join us in this session in an attempt to dig into the 25-year old transmediale archive and unpack some of its impenetrable secrets.
Initially, transmediale Advisory Board member Dieter Daniels will place the history of the festival within the context of the emergence and subsequent institutionalisation of media arts festivals in Germany and abroad. Baruch Gottlieb will then talk about his work with the transmediale archive as such, explaining how it is being digitised, disseminated online and given a presence in the current festival programme. A more curatorial perspective on past festivals will be given by Thomas Munz, former transmediale film and video curator, who will focus on unpacking works shown at transmediale from the late 1990s onwards. Finally, two special guests from different formative and transitional eras in the festival history: curators Rudolf Frieling and Susanne Jaschko who have been asked to each "unarchive" an item from the transmediale history.
© Genz, Lindner / transmediale
www.transmediale.de/content/labor-berlin-8-studio-weise7-...
Opaque devices, spyware, search engines and phones that talk about us behind our back: the deep reach of technology in our lives shapes both how we read the world and what we do in it.
The Weise7 in/compatible Laboratorium is an experimental workspace set up as an exchange between an artist and engineer run studio space at Weisestraße 7 in Neukölln and the Labor Berlin gallery at HKW. The Studio Weise7 exhibition brings together a series of works that frame a volatile interrogation of our increased dependence on machines, computer networks, databases and digital automation. The works consist of curious devices, software and circuitry, each representing a unique, critical engagement with the challenges of our "techno-political condition. In doing so, they serve as triggers for discourse, code for study and tools for deployment.
During transmediale 2012, Weise7 will present four different in/compatible themes which are being made manifest through installations and intensive mini-workshops and presentations. After the transmediale, the laboratorium will transform into a moratorium in this phase, part of the Labor Berlin space will be closed off to the public, and the four themes will extend into longer workshops carried out in the Weise7 studio space. The workshops will have a feedback to the Labor Berlin space as well and the process will be concluded with a publication launch. At this event, an artefact will be presented that functions as a networked archive publication of all the in/compatible Laboratorium activities.
This exhibition is part of the ongoing Labor Berlin series at the Haus der Kulturen der Welt (HKW), a project dedicated to the creativity and potential of international artists with the city as their new home and focuses on Berlin and its production conditions for artistic creation.
The Weise7 in/compatible laboratory is an experimental space in which artists and engineers of the project area in the Weisestr. 7 in Neukölln and the Labor Berlin Galerie share their thoughts in the Haus der Kulturen der Welt.The Studio Weise7 exhibition brings together ten works that frame a volatile interrogation of our increased dependence on machines, computer networks, databases and digital automation. The works consist of curious devices, software and circuitry, each representing a unique, critical engagement with the challenges of our 'techno-political condition'. This exhibition is part of the ongoing Labor Berlin series at the Haus der Kulturen der Welt (HKW), a project dedicated to the creativity and potential of international artists with the city as their new home and focuses on Berlin and its production conditions for artistic creation.
Participating artists are Bengt Sjölén, Brendan Howell, Danja Vasiliev, Gordan Savicic, Julian Oliver, Servando Barriero. Labor Berlin 8 is curated by Kristoffer Gansing.
© 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.
© 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
Arab Shorts titled 'A State of Fluidity' is curated by Maha Maamoun (left) and Sarah Rifky (right) from Cairo.
Screenings included
Rice City, Sherif El Azma, eg 2010, 19 min
Tomorrow Everything Will Be Alright, Akram Zaatari, lb/uk 2010, 12 min
Tarahi II, Haris Epaminonda, 2006, 4 min
Giza Zoo, Solmaz Shahbazi, eg 2010, 6 min
Short Wave / Long Wave, Vartan Avakian, lb 2009, 8 min
80 Million, Eslam Zeen El Abedeen and Mohamed Zayan, eg 2009, 4 min
My Father Looks for an Honest City, Basim Magdy, eg 2010, 6 min
Images of a Center, Iman Issa, eg 2005, 5 min
Full curatorial statement:
© Genz, Lindner / transmediale
www.transmediale.de/content/interface
Media interfaces are not simply a question of usability but, as Bjørn Erik Haugen’s simply entitled Interface shows, also an embodiment of politics and power. The work’s imagery offers a vision of war as seen through the augmented reality lens of a soldier operating a machine gun from an Apache helicopter as he communicates with military headquarters. From the solider’s perspective human life is abstracted to a series of on-screen moving targets, which have more in common with virtual polygon characters in a computer game than with their flesh and blood counterparts in reality. A touch of the red button is all that is required of him; with deadly precision the missile meets and destroys its target. The interface dematerialises the violence of war and turns the act of killing into just another click of a button.
© Genz, Lindner / transmediale
in/compatible publics
Panel with Anthony Iles (uk, image) + Rachel Baker (uk), Liza Tsaliki (gr) and Norifumi Ogawa (jp)
Moderated by Krystian Woznicki (de/pl)
Riots in Great Britain, uprisings in Greece, crisis in Japan – what do these social eruptions have in common? The world system is in turmoil – a process that not only disrupts the fragile order of the global South but more and more aggressively also those walled gardens composing the industrialised world. Suddenly we are talking about failed states located inside exclusive clubs such as the G8 and the Euro-17. Before we are able to understand the implications of this far-reaching transformation, we notice new authoritarian trends in politics foreclosing democratic processes.
In this time of social crisis we have to ask about the potential of social media. After all it is a strong collaborative grassroots quality that qualifies them as platforms for social change. With respect to the walled gardens in crisis, this panel wonders: What are seminal practices and applications of social media? What is their disruptive potential in increasingly authoritarian media landscapes?
Upload von: Reinhard Genz - Beschreibung: Die Nilgans landete beim Nachbarn auf dem Dach am 1.Mai Es ging so schnell, dass ich nur mit dem Handy durch die Fensterscheibe fotografieren konnte
© Genz, Lindner / transmediale
Arab Shorts titled 'A State of Fluidity' is curated by Maha Maamoun (left) and Sarah Rifky (right) from Cairo.
Screenings included
Rice City, Sherif El Azma, eg 2010, 19 min
Tomorrow Everything Will Be Alright, Akram Zaatari, lb/uk 2010, 12 min
Tarahi II, Haris Epaminonda, 2006, 4 min
Giza Zoo, Solmaz Shahbazi, eg 2010, 6 min
Short Wave / Long Wave, Vartan Avakian, lb 2009, 8 min
80 Million, Eslam Zeen El Abedeen and Mohamed Zayan, eg 2009, 4 min
My Father Looks for an Honest City, Basim Magdy, eg 2010, 6 min
Images of a Center, Iman Issa, eg 2005, 5 min
Full curatorial statement:
© Genz, Lindner / transmediale
www.transmediale.de/content/joshua-light-show-2
With concert by Oneohtrix Point Never (us)
After the concert with Supersilent two days ago tonight sees another performance by The Joshua Light Show, this time in conjunction with a concert by the American one man band Oneohtrix Point Never.
Oneohtrix Point Never (us)
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.
Sábado de treinos classificatórios da Stock Car e muita chuva em Santa Cruz do Sul na 5ª etapa da temporada 2018.
Nell’ Anno Internazionale delle Foreste, la tradizionale manifestazione dell’Infiorata di Genzano, divenuta negli ultimi anni un appuntamento internazionale d’arte e di cultura, dedica alla campagna Deforestazione Zero di Greenpeace un quadro di fiori.
© Genz, Lindner / transmediale
www.transmediale.de/node/20571/
Year: 1899
Format: photography
The wireless transfer of electrical energy was the dream of physicist and electrical engineer Nikola Tesla. After tireless experimentation he finally obtained his first patent for the wireless transmission of energy in 1900. It is recognised today as the first patented radio technology, although the inventor had intended to use it for the transmission of energy for lighting. He was convinced of the possibility of running electrical lights and machines at considerable distances, without a physical link to a power source. He envisioned a world with just a handful of radio transmitters from which any required power could be harnessed via antennae. The absorbed “space energy” could be converted into electrical energy. In 1901 construction of his 57 metre high Wardenclyffe Tower began. Disguised as a radio mast, its real function was to wirelessly transmit energy through the ionosphere. Tesla was convinced that he had discovered an operational “world energy system”, which could provide everyone with free energy. When the project financiers learnt of this, construction was halted.
The much-awaited #vivoZ1Pro, #FullyLoaded with Qualcomm Snapdragon 712AIE, 5000mAh Battery +18W fast Charging & 32MP In-Display Camera is here.
Catch the highlights of the #FullyLoaded launch event with GenZ icons Bhuvam Bam & Ashish Chanchlani.
Know more: www.vivo.com/in/products/z1pro
Source: Vivo India | Vivo India Youtube
© Genz, Lindner / transmediale
www.transmediale.de/content/beyond-incompatible
The reSource for transmedial culture is an initiative of transmediale, which aims to create a distributed platform and a peer-production context of research, knowledge and artistic practices throughout 2012 and beyond. The reSource works in partnership with CTM/DISK, Kunstraum Kreuzberg/Bethanien and the Post-Media Lab of the Leuphana University Lüneburg. Within the aegis of facilitating collaboration and the sharing of resources and knowledge between the transmediale festival in Berlin and the local and translocal scene engaged with art and digital culture, the reSource acts as a link between the cultural production of art festivals and collaborative networks in the field of art and technology, hacktivism and politics. The launch of the reSource takes place at transmediale with a dissemination of workshops, talks and performances, looking into the future through a series of events scheduled in the course of 2012, leading to the next transmediale festival in 2013.
With: Tatiana Bazzichelli (transmediale), Stéphane Bauer (Kunstraum Kreuzberg /Bethanien, Berlin), Oliver Baurhenn (CTM, Berlin), Clemens Apprich and Oliver Lerone Schultz (Post-Media Lab, Leuphana University Lüneburg). Introduced by Kristoffer Gansing.
The second part of this event is the launch of the Vilém Flusser Residency Programme.