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© Genz, Lindner / transmediale
www.transmediale.de/content/ideomotoric-chatroom-glitch-m...
The Glitch Moment(um) | Rosa Menkman
The Glitch Moment(um), is a audiovisual work in which Rosa Menkman sets out to tell the story of “every glitch” as a particular moment. Often described as an uncanny, threatening loss of control, the glitch throws a spectator into a void, which finally gives birth to new meaning. This can take place via exciting, archetypal or mundane forms and explains why eventually every glitch can become a new fashion, despite its initial critical potential.
Prophilax live @ Palarockness.
Genzano 16/03/2013
Clicca MI PIACE su questa pagina: Fabrizio Di Ruscio Photography
© Fabrizio Di Ruscio
© Genz, Lindner / transmediale
speaking: Wolfgang Ernst (de)
Discussion with Inke Arns (de), Wolfgang Ernst (de), Jussi Parikka (fi/uk)
Moderator by Timothy Druckrey (us)
With such an array of histories whirling through the media sphere over the past decades, it seems important to tackle some questions about how these methodologies have and are inflecting an equally wide range of artistic practices that incorporate, re-evaluate, rethink, spoof, or re-invent technologies under rubrics ranging from “archaeology” to “variantology”. This “Open Conversation” brings together a range of participants whose work traverses historiographic and contemporary curatorial practices that resonate with assessments and contributions to this debate. In a sphere with such varied approaches to artistic production – geneaologies, archaeologies, and other approaches to revive, extend, reconsider, etc., previous techniques or media – this “conversation” will attempt to bridge differences, clarify methodologies, and, most importantly, ask what is the relevance of all this historiography in the working spheres where art is being made.
© 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
www.transmediale.de/de/content/unstable-and-vernacular-vu...
Panel with Camille Paloque-Berges (fr, image), Olia Lialina (ru), Dragan Espenschied (de), Florian Cramer (de/nl)
Moderated by Rosa Menkman (nl)
Over the last decade, the history of the web and all its “common” qualities – or digital folklore – has become a growing field of study. The role of the “user” giving form to his medium (its materials, customs, ideologies and aesthetic structures, which are closely connected to visual, textual and audio cultures) has become key to this research. Moreover, these coarse or unrefined DIY-fabrications have become (re-)appraised treasures or relics of amateur culture. This panel will reflect on different on/offline (dead and alive) DIY-networks focusing on their vulgar vernaculars, ideologies and customs, and on how we came to appraise them.
© 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.
© Genz, Lindner / transmediale
www.transmediale.de/de/content/unstable-and-vernacular-vu...
Panel with Camille Paloque-Berges (fr), Olia Lialina (ru), Dragan Espenschied (de), Florian Cramer (de/nl)
Moderated by Rosa Menkman (nl)
Over the last decade, the history of the web and all its “common” qualities – or digital folklore – has become a growing field of study. The role of the “user” giving form to his medium (its materials, customs, ideologies and aesthetic structures, which are closely connected to visual, textual and audio cultures) has become key to this research. Moreover, these coarse or unrefined DIY-fabrications have become (re-)appraised treasures or relics of amateur culture. This panel will reflect on different on/offline (dead and alive) DIY-networks focusing on their vulgar vernaculars, ideologies and customs, and on how we came to appraise them.
© Genz, Lindner / transmediale
www.transmediale.de/node/20653/
"While browsing the transmediale website I was pleased to find they are 'always on the look out for projects and persons who may help in navigating, reflect on and ultimately re-model the production of contemporary culture'. I was even more pleased to hear that this year the festival is investigating the fundamental conditions for cultural production in times of crisis.
As a famous new media artist I’m often invited to help resolve cultural crises. I represent innovation in a time when culture is fighting a losing battle for relevance. The onset of a global economic crisis has not helped matters. Governments are slashing cultural spending leaving fewer and fewer resources available for those that have enlisted in this noble cause. Who has time for culture when the world is about to end?
Thankfully I do. For this 2012 edition of transmediale, I’m pleased to present new software to save us all. Software that will not only rescue our creative souls but also our economic ones."
© 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.
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.
À mesa, em pronunciamento, membro do Conselho deliberativo do PROIFES- Federação, Jairo Alfredo Genz Bolter.
Foto: Jefferson Rudy/Agência Senado
© Genz, Lindner / transmediale
Discussion with Inke Arns (de), Wolfgang Ernst (de), Jussi Parikka (fi/uk)
Moderator by Timothy Druckrey (us)
With such an array of histories whirling through the media sphere over the past decades, it seems important to tackle some questions about how these methodologies have and are inflecting an equally wide range of artistic practices that incorporate, re-evaluate, rethink, spoof, or re-invent technologies under rubrics ranging from “archaeology” to “variantology”. This “Open Conversation” brings together a range of participants whose work traverses historiographic and contemporary curatorial practices that resonate with assessments and contributions to this debate. In a sphere with such varied approaches to artistic production – geneaologies, archaeologies, and other approaches to revive, extend, reconsider, etc., previous techniques or media – this “conversation” will attempt to bridge differences, clarify methodologies, and, most importantly, ask what is the relevance of all this historiography in the working spheres where art is being made.
Der lustige Film ist hier zu sehen :
www.energiesparmeister.de/energiesparmeister-wettbewerb/v...
Wie der Film entstanden ist wird hier gezeigt :
© Genz, Lindner / transmediale
front: Photos of e-waste found on Flickr (2009/2010) by Jack Caravanos and Vibek Raj Maurya
back: A Cyberfeminist Manifesto for the 21st Century (1991) by VNS Matrix
Dark Drives: Uneasy Energies in Technological Times
www.transmediale.de/de/node/20516
www.transmediale.de/node/20515
The focus on “uneasy energies in technological times” in the transmediale 2012 exhibition responds directly to the overall “in/compatible” theme of the festival. On the one hand, uneasy energies can be said to produce the in/compatible, while on the other hand the in/compatible can be said to produce uneasy energies. The two form a circuit of mutual exchange. The question of which one of the two comes first and determines the other is beside the point. The point is rather to engage with the multiple instances where uneasy energies and the in/compatible connect and generate processes that challenge consensual and standardised perceptions of technology. As such the exhibition is inscribed within the context of the festival theme at the same time as it is intended to expand the vocabulary of the in/compatible through the art works and cultural objects displayed.
But what exactly are “uneasy energies in technological times”? Rather than attempting a definition by references to philosophy or art history, the exhibition through an extensive and diverse group of examples claims that distortions, ambiguities, irritations, ironies, and unrest constitute as a significant trajectory in our relations with modern technology and have done so since the use value of electricity was discovered. It is a trajectory that resists conventional formalisation and the exhibition challenges visitors to develop a sensibility and intelligence towards the trajectory as a way to engage with the critical and inventive potentials that it contains.
However, just like the uneasy energies in themselves do not add up to a clear point, the exhibition does not aim at resolution. It offers no promise of overcoming the uneasy energies. On the contrary, it claims that uneasy energies are insuperable, an integral and constitutive part of technological times, and invites visitors to explore the trajectories and horizons of the dark drives that they present.
The exhibition is curated by Jacob Lillemose.
© Foto di Cristiano Proia
'L'Amore per il Creato - A lezione da Wojtyla'
Genzano di Roma, Palazzo comunale, Sala Consiliare
13 gennaio 2012
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
Alfonso Cauteruccio, presidente di Greenaccord
© Foto di Cristiano Proia
'L'Amore per il Creato - A lezione da Wojtyla'
Genzano di Roma, Palazzo comunale, Sala Consiliare
13 gennaio 2012
© Genz, Lindner / transmediale
From the look of it the black external hard drive placed on the plinth is recognisable as an object ofdesire sold at media stores all over the world. Its cool minimalist aesthetic invokes the authority of technology. It is a black box that efficiently and securely protects what is inside. However, the invisible content tells a different story. The people behind Art 404 have illegally downloaded and collected 5 million dollars worth of copyrighted software, from AutoCAD to fiction books, that in size adds up to the 1 terabyte capacity of the hard drive. The object embodies a challenge to intellectual property rights. How are we to relate to this ambiguous object, at once beautiful, effective and unlawful? Is the hard drive a contemporary version of the black monolith that in Stanley Kubrick’s 2001: A Space Odyssey (1968) seems to influence the course of humankind? If so, in what direction is it taking us?