quinta-feira, dezembro 26, 2013

The Dream (in 2014) is still Telematic

While some might take the roads of the internet as an endless amount of crossed lines that intersect in a meaningless way throughout the immensity of virtual tunnels connected to each other by the power of human will to explore; many are those who look at this sea of connectivity as a source of making information (regardless if its form) flow back and forth in order to explore that same humanity and making it visible, hearable, touchable... In many ways to make that information part of the sense(s) that define us as humans living together in the same world.

Who are we, who is each one of us, if not a combinatoria of experiences, information, books we have read, things imagined? Each life is an encyclopedia, a library, an inventory of objects, a series of styles, and everything can be constantly shuffled and reordered in every way conceivable.
-- "Six Memos for the Next Millenium" by Italo Calvino

2013 has been a year where I've came across (and continued to follow) some of those who work towards making the contemporary multiplicity of the various selves we carry within into something both more human and more connected to the layer that hovers upon our existence.
How many souls travel this endless voyage? Where is this ship going?

The questions surrounding the telematic world have increasingly become more detailed and focused on the backbone of technology. An interactivity that is defined after concepts that are directly connected to a human-to-human experience. Processes of re-definition, re-manufacturing, re-thinking, re-mixing... Re-Generation.
Exploring the symptoms of a dialogue that no longer happens in the same time and space, but conversations that rather than meeting an end are put on hold and wait there, latent, waiting to be continued, followed up by others. A re-configuration of communication.
Exploring the invisible layer of virtuality has become more important than triggering new worlds - although those are still important in terms of fiction, to keep feeding the future to come (everyday more close, less unknown, increasingly small).

In these times where we all sail the interwebs we look for messages that connect to us, we look ahead to the endless seascape of nothingness and we foresee the poetry of our ancestors that have travelled real time distances to know the other side of the world. Where are we now?

Unamuno use to say that the only question that can bother us is the "Human one, that is to say mine, yours, the question of us all". This is the other solution that Unamuno offers in the long poem 'Il Cristo di Valasquez': "life is dream, and death is waking hours".
-- taken from HIDDEN BEHIND "THE HUMILIATED AND THE OFFENDED" by Gabriele Perretta

There will be a time when the world will be filled with digital natives, and for that time it is important to keep the breathing head outside of this water and keep breathing, keep living, keep the sensorial fabric part of the moist media (Roy Ascott) world present and ahead of us.
The immediatism of forms, where processes happen in relation with others has always been part of a very human activity, we serve as a tool of mediation and therefore our devices are developed to serve that same function. 

If we turn to left then the whole world goes right, or is it the other way around? We have an action on the world around us.

The dream is still telematic, and all forms of xenos are welcome to join.

Letters of Note: Sleep well my love

The following heart-rending love letter was written by American World War II veteran Brian Keith to Dave, a fellow soldier he met and fell in love with in 1943 while stationed in North Africa. It was penned on the occasion of their anniversary and reprinted in September of 1961 by ONE Magazine, a groundbreaking pro-gay magazine first published in 1953. The original letter is held, I am told, by the Library of Congress.
(Source: ONE National Gay & Lesbian Archives, via Carrie Kendall.) 

Dear Dave,

This is in memory of an anniversary — the anniversary of October 27th, 1943, when I first heard you singing in North Africa. That song brings memories of the happiest times I’ve ever known. Memories of a GI show troop — curtains made from barrage balloons — spotlights made from cocoa cans — rehearsals that ran late into the evenings — and a handsome boy with a wonderful tenor voice. Opening night at a theatre in Canastel — perhaps a bit too much muscatel, and someone who understood. Exciting days playing in the beautiful and stately Municipal Opera House in Oran — a misunderstanding — an understanding in the wings just before opening chorus.

Drinks at "Coq d'or" — dinner at the "Auberge" — a ring and promise given. The show 1st Armoured — muscatel, scotch, wine — someone who had to be carried from the truck and put to bed in his tent. A night of pouring rain and two very soaked GIs beneath a solitary tree on an African plain. A borrowed French convertible — a warm sulphur spring, the cool Mediterranean, and a picnic of "rations" and hot cokes. Two lieutenants who were smart enough to know the score, but not smart enough to realize that we wanted to be alone. A screwball piano player — competition — miserable days and lonely nights. The cold, windy night we crawled through the window of a GI theatre and fell asleep on a cot backstage, locked in each other’s arms — the shock when we awoke and realized that miraculously we hadn't been discovered. A fast drive to a cliff above the sea — pictures taken, and a stop amid the purple grapes and cool leaves of a vineyard.
The happiness when told we were going home — and the misery when we learned that we would not be going together. Fond goodbyes on a secluded beach beneath the star-studded velvet of an African night, and the tears that would not be stopped as I stood atop the sea-wall and watched your convoy disappear over the horizon.
We vowed we’d be together again "back home," but fate knew better — you never got there. And so, Dave, I hope that where ever you are these memories are as precious to you as they are to me.

Goodnight, sleep well my love.
Brian Keith

terça-feira, dezembro 24, 2013


quarta-feira, dezembro 18, 2013

Self-Portrait 1914-18 by John Berger | #tenderness

Self-Portrait 1914-18

It seems now that I was so near to that war.
I was born eight years after it ended
When the General Strike had been defeated.

Yet I was born by Very Light and shrapnel
On duck boards
Among limbs without bodies.

I was born of the look of the dead
Swaddled in mustard gas
And fed in a dugout.

I was the groundless hope of survival
With mud between finger and thumb
Born near Abbeville.

I lived the first year of my life
Between the leaves of a pocket bible
Stuffed in a khaki haversack.

I lived the second year of my life
With three photos of a woman
Kept in a standard issue army paybook.
In the third year of my life
At 11 a.m. on November 11th 1918
I became all that was conceivable.

Before I could see
Before I could cry out
Before I could go hungry

I was the world fit for heroes to live in.

John Berger

segunda-feira, dezembro 16, 2013

Mon désert rouge

un projet de film de Morena Campani

sexta-feira, dezembro 13, 2013

What Every Place on Earth Sounds Like


The project radio aporee ::: maps has started 2006. it is a global soundmap dedicated to phonography, field recording (and related practices) and the art of listening. it connects sound recordings and places, in order to create a sonic cartography, open to the public as a collaborative project. It contains recordings from numerous urban, rural and natural environments, showing their audible complexity, as well as the different perceptions, practices and artistic perspectives of its many contributors, related to sound, public and private spaces, listening and sense of place. (more about aporee.org ...)

...The idea was to connect sound and space, and to create a cartography which focusses solely on sound, and open it to the public as a collaborative project. Meanwhile it contains 1000s of recordings from numerous urban, rural and natural environments, showing the sonic complexity of these environments, as well as the different perception and artistic perspectives related to sound, space and places. furthermore, it's an exciting playground for experiments with sound and mobile media.
from: http://motherboard.vice.com/blog/what-every-place-on-earth-sounds-like

extending space and time

The Extension of Space and Time through the Expansion of the Format

Other artistic concepts attempted to reach an extension of space beyond our limited eye view. Panoramas, that were discovered at the end of the 19th century, string together spatiality and break the central perspective through isometry or through vanishing points in the painting. In those days one could document landscape exactly through the use of technical aids such as the pin-hole camera. Naturally the reality of a panorama was limited to the the human's eye view so that in the process of viewing the viewer had to turn on his/her own axis. Thus the illusion of a real landscape was evoked for the viewer. This effect must have been even stronger with the moving panoramas, which, in front of the audience, were slowly hauled from one roll placed on one side of the stage to another one on the other side, for example to simulate the movement of a ship. Thus panoramas can also be seen as the precedents for films and motion rides.

Panoramas represent therefore not only the extension of space through the positioning of stringing space together but also the extension of time through the build-up of chronological time. The simulation of a boat trip down the Mississippi was both a sequence of spaces and actions within a clearly defined time period.
Although moving panoramas are nothing but stills proper, they helped to produce the illusion of movement by causing the viewer to move his/her eye over the picture, getting a notion of time sequence, or by moving the viewer him/herself, or the canvas.

In photography the slit camera enabled the organisation of time on a plane. The camera takes only a vertical line, a minimal section of space over a restricted time-span. The result is the documentation of different time periods on one plane based on a cut through the space.

in - 'Space-Time Correlations Focused in Film Objects and Interactive Video'
by Susanne Jaschko (read more)

segunda-feira, dezembro 09, 2013

facts: Urbino

Federico da Montefeltro

Federico da Montefeltro. 
Portrait by Piero della Francesca. 
(ca. 1465-1472 (Renaissance))

After six years in the service of the Florence, Federico was hired in 1450 by Sforza, now Duke of Milan. However, he could not perform his duties as he lost his right eye during a tournament. He subsequently carried a vast and disfiguring scar for the rest of his life, so that it was necessary to portray him only on his "good" side. Malatesta profited from his illness to obtain the position under Sforza, whereupon Federico in October 1451 accepted instead a proposal by Alfonso V of Aragon, King of Naples, to fight for him against Florence. After the loss of the eye, Federico – no stranger to conspiracies and one of the leaders that inspired Niccolò Machiavelli to write Il Principe – had surgeons remove the bridge of his nose (which had been injured in the incident). This improved his field of vision to a considerable extent, rendered him less vulnerable to assassination attempts – and, as can be seen by his successful career thereafter, restored his merits as a field commander.

The Ideal City

"The Ideal City" (ca. 1480-1484 (Renaissance))  
This painting by Fra Carneval, representing an ideal Roman city, was commissioned for the palace of Montefeltro. The Walters Art Museum.

This view and a related paintings now in Urbino were apparently commissioned for the palace of Duke Federico da Montefeltro of Urbino. Another related view is now in Berlin. Set into the woodwork at shoulder height or higher, "The Ideal City" would have seemed like a window onto another, better world.

La Muta

Raffaello Sanzio (Raphael) - 1507 (La Muta)

Portrait of a young woman, sometimes known as La Muta is one of only two of Raphael's paintings on display in his native Urbino. It is a relatively recent attribution to Raphael and was gifted to the town of Urbino by the Uffizi after spending much time in storage in the great Florentine Museum.
The painting is believed to have been created after Raphael's exposure to the Florentine style, where he absorbed many new lessons in composition and technique from Leonardo. The title La Muta (the silent one) is not believed to be a description of the woman herself, but a reference to her identity being unknown.
Unlike the hot tempered Michelangelo, Raphael used the exposure to Leonardo's works to great effect - with very visible influences of Leonardo's lessons appearing in Raphael's work. A lot has been written about the fierce rivalry between Michelangelo and Leonardo, and the 'Lost Battles' they were commissioned to create for the Palazzo Vecchio.

- all texts and descriptions were found online. 

sexta-feira, dezembro 06, 2013

quinta-feira, dezembro 05, 2013


Dammi il supremo coraggio dell’Amore,
questa è la mia preghiera,
coraggio di parlare,
di agire, di soffrire,
di lasciare tutte le cose,
o di essere lasciato solo.
Temperami con incarichi rischiosi,
onorami con il dolore,
e aiutami ad alzarmi ogni volta che cadrò.
Dammi la suprema certezza nell’amore,
e dell’amore,
questa è la mia preghiera,
la certezza che appartiene alla vita nella morte,
alla vittoria nella sconfitta,
alla potenza nascosta nella più fragile bellezza,
a quella dignità nel dolore,
che accetta l’offesa,
ma disdegna di ripagarla con l’offesa.
Dammi la forza di amare
e ad ogni costo.

-- Kahlil Gibran

quarta-feira, dezembro 04, 2013

thoughts #medialism Gabriele Perretta

To be more explicit: if the painting is digital the painting does not exist it is only simulated or evocated by the use of the photograph; therefore in the oxymoron of "media painting" it is "mediality" that defines the technical gesture itself, or any other human gesture that tends to the mechanical (to what simulates painting).
-- by Gabriele Perretta


sexta-feira, novembro 29, 2013

It was a day in 1958,(...)video-art was born.

Photograph: Berlinische Galerie | ©

Wolf Vostell, Elektronischer dé-coll/age Happening Raum, 1968

It was a day in 1958, when German artist Wolf Vostell incorporated for the first time (in the history of art) a television set into a complex multimedia work titled Black Room Cycle, and his subsequent Transmigration — an oil painting in décollage, out of which, through a slash in the canvas, a TV set plays a bad signal from a UHF channel. That is when apparently video-art was born.
-- By Arie Amaya-Akkermans on "Moving Portraits: Exploring the Potential of Video Art with Uygar Demoğlu"

Fernando Pessoa predicting the future of Art's biggest challenge...

'Man should never see himself in a mirror. Nothing could be more terrible. Nature endowed him with the gift of not being able to see his own face, and to not being able to look into his own eyes. Only in the waters of the rivers and the lakes, may he contemplate himself. The posture he had to adopt was very symbolic: He had to kneel down, to bend, to indulge in the ignominy of his own sight.' [Fernando Pessoa - The Book of Disquiet] 
It is impossible to experience this self-portrait without ignominy as well. 
-- By Arie Amaya-Akkermans on "Moving Portraits: Exploring the Potential of Video Art with Uygar Demoğlu" a survey on the boundaries of video art.

Through his creation of heteronyms, Fernando Pessoa affirmed his belief that a man cannot possibly live and fully understand life by being only one person, but that you must lead simultaneous lives to achieve this higher understanding. 
-- Roy Ascott for COST (Arts & Technologies Workshop - CAT - ZAGREB, 2013) elaborating on the concept of Multiple Selves.

the moist media thoughts of Roy Ascott

Ascott doesn't use the term “digital media”. Preferring the more inviting “moist media”, it represents where art is now: representing a multiplicity of media, configured and manipulated in an infinite number of ways by distributed authorship, publication, and distribution. Moist represents a convergence of silicon, dry computational systems and wet biological processes, tremendously extending the sensorium of the self. We look deeper and multitask almost permanently.

the way we are now!
our planet is telematic
our media is moist
our mind is technoetic
our modeling is cybernetic
our sensorium is extended
our identity is multiple
our body is transformable
our art is syncretic
our substrate is nano
our reality is variable

Roy Ascott 2013 - COST (Arts & Technologies Workshop - CAT - ZAGREB, 2013)

Ascott adds:
The art of our time is technoetic, syncretic, telematic; it's in a hybrid space, it interacts with transmodalities, and offers a transformation of our consciousness. That's some challenge.

Read more
Indeed the art of our time throbs in this hybrid space, calling upon all different types of media and happening at a vertiginous velocity that does not yet let's us guess a direction (if there is a direction, or an end to it). Constantly transforming a perspective on both sides (both for the maker and the expérienceur. The multiplicity of our existence requires a multiplicity of experiences and a wide range of senses involved in every action. From a time where art was an object of contemplation it is now subject to constant and immediate change not only in the field of interpretation but also being connected to the art work itself.
As we are to be perceived as individuals in this new era, we do not tend to follow only one belief, one truth, we make our own context from combining different variables co-existing in the same time and space. The velocity of making and consuming has been re-defined and we no longer follow the same measure/evaluation patterns, the problem is we haven't found new ones, our - as Ascott refers - we no longer have to concern about large scale measures but look further to a nano perspective - as that IS our substrate.

quinta-feira, novembro 28, 2013

gotta give ‘em hope.

“Two days after I was elected I got a phone call and the voice was quite young and it was from Altoona PA and the person said ‘thanks.’
And you’ve got to elect gay people so that that young child and thousands upon thousands like that child know that there’s hope for a better world; there’s hope for a better tomorrow… I know that you cannot live on hope alone but without it life is not worth living. And you and you and you gotta give ‘em hope.”
[---Harvey Milk]

Read the whole speech here

quarta-feira, novembro 20, 2013

the infinity of myself

Through the mediation - Self Portraits on TV Monitor post-filtered digitally
Daniel Pinheiro - 2013

Always dear to me was this solitary hill
and this hedge, which, for its part,
excludes most of the far horizon.
But sitting and gazing at such
endless spaces beyond it, the transcendent
silences, and the most profound silences,
letting my wandering thoughts
engulf me; where my heart almost fears. As the wind
I hear rustling through the trees,
I must keep on, pondering
that infinite silence with this voice.
I recall the eternal,
the dead seasons, the present one,
the living, and the sound of her;
So in in the mist of this immensity,
my thoughts drown, and to me,
sweet is the sinking in this sea.


Sempre caro mi fu quest’ermo colle,
e questa siepe, che da tanta parte
dell’ultimo orizzonte il guardo esclude.
Ma sedendo e mirando, interminati
spazi di là da quella, e sovrumani
silenzi, e profondissima quiete
io nel pensier mi fingo; ove per poco
il cor non si spaura. E come il vento
odo stormir tra queste piante, io quello
infinito silenzio a questa voce
vo comparando: e mi sovvien l’eterno,
e le morte stagioni, e la presente
e viva, e il suon di lei. Così tra questa
immensità s’annega il pensier mio:
e il naufragar m’è dolce in questo mare.

"L'infinito" (English: The Infinite) by Giacomo Leopardi (Recanati - Italy, Autumn of 1819.)

as years go by

quinta-feira, novembro 14, 2013

"transforming the black box for the new century..."


...In 1966, American composer and sound-art pioneer Max Neuhaus teamed up with NYC radio station WBAI to create “Public Supply” — an experiment in two-way aural public space in which listeners could contribute to a composition in real time by phoning in to the station and having their voices electronically transformed into components of a musical composition. The project is considered be one of the first successful artistic collaborations over an electronic network in real time. The very same year, renowned abstract expressionist Robert Rauchenberg met an engineer from Bell Telephone Lab named Billy Klüver. Together, they launched Experiments in Art and Technology (E.A.T.), with the aim of connecting artists and technologists to launch experimental explorations into the intersection of art and technology.

Meanwhile, Ellen Stewart was connecting La MaMa with theatrical communities around the world, and building a global circuit of independent theatrical practitioners. Networking, collaboration and technology were all emerging into the cultural zeitgeist — blending, morphing and generating new art forms and schools of thought.

“The ideas aren’t that new. Nam Jun Paik was doing this in the late 70s and early 80s. But now the technology is more ubiquitous, it’s cheaper. High-speed Internet is on all the time.”
Billy Clark

The partnership with RE/Mixed Media Festival in curating the first night of REFEST is demonstrative of the collaborative ethos that CultureHub has inherited from La MaMa. “So often in the not-for-profit world, you’re forced to have your head down,” Clark said, “you don’t have enough resources, you’re always too busy, you’re trying to scramble. But a lot of us are scrambling in the same direction, without taking the time to look up and say ‘Hey, they’re doing something similar. What if we worked together?’ We certainly can’t solve that whole problem, but the spirit is one of collaboration.”

!!all text above as featured on The Village by performer/producer/sound artist and founder of the  annual RE/Mixed Media Festival in Manhattan, Tom Tenney. read the article!!

The REFEST starts November 29!!!


quarta-feira, novembro 13, 2013

the “Skype gaze.”

“Solve the eye contact problem and you have the new email,” writes telecommunications analyst Steve Blum. “No eye contact, nothing new. It’s no different from Second Life, and at least there you can look like anyone you want.” But solving the eye contact problem does not seem like enough. Whatever the solution that is eventually devised, eye contact via video would still be skeuomorphic, still a simulation. And, consequently, so too do online ethics remain a skeuomorph of those we find in the physical world.

Perhaps, then, it is not eye contact that the internet needs, but some other currency of trust and recognition. The bitcoin of responsibility. A ground for ethics that is not simulated, but wholly its own – an experience that is as vitally native to the internet as eye contact is to the physical world. Something new for us to share.

in New Criticals

terça-feira, novembro 12, 2013

the physicality of the medium is irrelevant

Keeping New Media New: Conserving High-Tech Art
Video artists tend to perceive their work as somewhat fluid. For the pioneering video and new media artist Peter Campus, the physicality of the medium is irrelevant. “I want my work to keep changing and growing—that’s very important to me,” Campus says. “Because this is a medium that keeps changing, and I don’t want to pretend that it doesn’t.”
 Read more

domingo, novembro 10, 2013

nothing new

presenting: Basma Alsharif

we began by measuring distance (excerpt) from Basma Alsharif on Vimeo.

With a skillful play between moving images, text, translation and voice, the media work of Basma Alsharif calls out the viewer’s position of watching, asking us to reconsider the certainty with which we know the world. Alsharif’s practice evinces an interest in how people relate to and internalize geopolitical shifts that occur within their lifetimes, and those they carry with them from past generations. Weaving structural visual codes with material archives, her aim is to decentralize content and produce work that operates through a multi-vantage perspective, thereby transforming information into a visceral experience. The Neighbour Before the House by collective CAMP is a series of video probes into the landscape of East Jerusalem. Shot with a security camera, these images show that before and after instrumental “surveillance,” there is inquisitiveness, jest, memory, desire and doubt that pervades the project of watching. In these specific times and places, camera movements and live commentary become ways in which Palestinian residents evaluate what can be seen, and speak about the nature of their distance from others.

: http://cinemaproject.org/screenings/fall/2013/basma-alsharif-camp/

quarta-feira, novembro 06, 2013

“We must learn to create on the same scale as we can destroy”

Gene Youngblood, from Radical Software, Summer 1970, p. 16

The media must be liberated, must be removed from private ownership and commercial sponsorship, must be placed in the service of all humanity. We must make the media believable. We must assume conscious control over the videosphere. We must wrench the intermedia network free from the archaic and corrupt intelligence that now dominates it.
Excerpt from Metadesigning for the Future - Gene Youngblood by Erkki Huhtamo
(A conversation with Gene Youngblood at the World Wide Video Festival, The Hague, Netherlands, 1 & 2 October, 1990.)
Dedicated to the memory of Sherrie Rabinowitz (1950-2013), a visionary media artist and friend

Huhtamo: Does the concept of “art” make any sense in the case of Kit and Sherrie’s work?

Youngblood: Kit Galloway and Sherrie Rabinowitz are admired around the world for their dedication, over a period of 15 years, to creating models of democratic telecommunication. They chose a field of activity for which there is very little support, very little recognition. Few critics know how to write intelligently about it. In my book, I’m proposing a new theory of the avant-garde. I’m basing it on two interpretations of the idea. One is The Theory of the Avant-Garde by Renato Poggioli. It’s the standard text on the subject. The other is Peter Bürger’s Theory of the Avant-Garde. Both are about the historical avant-garde, the Dadaists, Futurists, Surrealists. Poggioli is the weak interpretation – it’s all about rebellion, subverting popular language, being culturally transgressive, and utilizing the latest technology. Poggioli’s avant-garde is the one that’s been totally rejected. It’s dead, the way God is dead. But Peter Bürger says this is an incomplete understanding of the historical avant-garde. He says their project was to destroy the social institution of autonomous art and merge art with life. In other words, we should understand it as a political project based in art. To merge art with life meant actually to create a new way of life, a new social structure. Of course they failed. They succeeded in revolutionizing art, but they failed in the larger sense, which of course was inevitable. They did not have the means to do this grand thing. We should remember that the avant-garde began not in art at all, but as a political movement in Paris in the 19th century. When Baudelaire wrote about an avant-garde, he was referring to politics. But after the Paris Commune, that conception of avant-garde gradually shifted over to the art world little by little, until it finally came to mean only art.

segunda-feira, novembro 04, 2013

In everything I seek to grasp...

image by Daniel Pinheiro

In everything I seek to grasp
The fundamental:
The daily choice, the daily task,
The sentimental.

To plumb the essence of the past,
The first foundations,
The crux, the roots, the inmost hearts,
The explanations.

And, puzzling out the weave of fate,
Events observer,
To live, feel, love and meditate
And to discover.

Oh, if my skill did but suffice
After a fashion,
In eight lines I'd anatomize
The parts of passion.

I'd write of sins, forbidden fruit,
Of chance-seized shadows;
Of hasty flight and hot pursuit,
Of palms, of elbows.

Define its laws and origin
In terms judicial,
Repeat the names it glories in,
And the initials.

I'd sinews strain my verse to shape
Like a trim garden:
The limes should blossom down the nape,
A double cordon.

My verse should breathe the fresh-clipped hedge,
Roses and meadows
And mint and new-mown hay and sedge,
The thunder's bellows.

As Chopin once in his etudes
Miraculously conjured
Parks, groves, graves and solitudes-
A living wonder.

The moment of achievement caught
Twixt sport and torment…
A singing bowstring shuddering taut,
A stubborn bow bent.

Boris Pasternak

domingo, novembro 03, 2013

Nano perception

If the mission of 20th century art was to make the invisible visible, 21st century artists will be concerned with finding ways to allow us to sense the invisible in the visible. The ratio of the senses may shift, and new perceptual modes may be uncovered. The ability to work with these invisible forces and fields rather than to try simply to represent them, and the wish to engage directly in their implementation rather than with their implication, will become increasingly evident as biophysics develops greater sensitivity to the modulation of new realities arising from our direct participation in life processes, and art acquires new means of construction and implementation.  

Roy Ascott in "The Trajectory of Art: moistmedia and the technologies of consciousness" 

sábado, novembro 02, 2013

maschere senza senso

Baudrillard says that 
"Finally, 'the medium is the message' not only signifies the end of the message, but also the end of the medium. There are no more media in the literal sense of the word (I'm speaking particularly of electronic mass media) - that is, of a mediating power between one reality and another, between one state of the real and another. Neither in content, neither in form. "

The mask:
The masks used by us in everyday situations change according to very sociocultural contexts, situations in which we automatically call upon the shell that will be best recognized by those wearing the same mask, being possible an existence within a group. A recognizable group of individuals that are, before numbers, seen as a group of characteristics that define them as such and consequently giving them a sense of presence, of an individual existence within the group. 
Acknowledging that these masks bare a history of significance, we can also say that those masks are definitions that refer to different significants throughout history. The mask becomes over meaningful and as such empty of any meaning at all, for it is its own ending, in the sense that it means its own end of significance.

We become masks without meaning each one containing a set of different stereotypical 'ghosts', each one of those with a very specific and determined meaning.

By trying to understand the different masks we tend to analyze society in a very structured format, a format that doesn't include unknowns, and therefore, not containing a group of unrecognized characteristics. Between the masks and the real, if in fact there is a single, truthful, existence, there's an emptiness of form and content. This can also lead to the thought that unidentified, unboxed, individuals exist on a layer of translation, of being in fact there difference that translates the significance of other well-known meanings.
By baring the masks we are the medium for a message, a message that is in fact not accurate and an assumption made out of interpretations, often interpretations of those who hold the power and those who don't. The masks are a sign of empowerment and as such, they belong to a imaginary equation that keeps on changing despite the format - although old fashioned and not in consonance to the evolution of the species - being the same and fixed.
We are the masks that the media try to assemble together to pass any kind of message, so those masks can be given any different meaning according to the context they're mentioned, ultimately being themselves empty of any meaning - like an avocado that gets its flavor depending on different seasonings - and they do not stand for a unique truth, but instead they stand as a void full of lies and misunderstandings.

sexta-feira, novembro 01, 2013

a single man by christopher isherwood.

“a few times in my life i’ve had moments of absolute clarity,
when for a few brief seconds the silence drowns out the noise
and i can feel rather than think, and things seem so sharp
and the world seems so fresh.

i can never make these moments last.
i cling to them, but like everything, they fade.
i have lived my life on these moments.
they pull me back to the present,
and i realize that everything is exactly the way
it was meant to be.”

a single man

christopher isherwood.

(via emmenezmoi)

quinta-feira, outubro 10, 2013

The is only a text post . Not an image. Not a sound.

On the impossibility of downloading our brain information...

We're accustomed to save all the information we can in our portable devices, we take pictures, we record videos we share them over our social networks, we share so we don't forget, we share information that is in fact how we use to mark our school books, or others, in the pages we wanted to remember an image, we wanted to save a special quote, we marked our memory in bits of paper because some of us feel the urgent need to store everything we can so we build a memory from our life, we save and share things that relate directly to us in a different way than other things are completely random and go unnoticed.
We relate to things in way we don't even understand how do they become part of our lives, we remember things in a way our brain organizes information and we don't have any control over that. We relate to those things sometimes in a very filmic, cinematic way, we close our eyes and we are taken through a voyage of pictures, words, smells, snippets of moving details, that we didn't even know that we're stored, somehow they are and we're taken back to them...
Yesterday while taking a bike out for a ride and somewhere in the middle I got 'lost' in the middle of the city biggest park, at a very specific moment, under some vines I looked up and a feeling of déjà-vu stayed with me for a while until I recalled from a journey back in 2008 when I was under some similar skyscape and which I didn't even knew it had been stored in my mind. There was no specific reason for that image to be part of my memory, I've seen vines all throughout my life, I don't even have a strong bond to that kind of nature, I like them, and that's it; the main thing is that I was taken to a memory of the past which I didn't even knew it was there...
Our life is filled with those moments. 
In a world where we're digitally used to save information in hyperlink format, our body and mind work in the same way, storing information that makes us recognize the world in our own way... (Glad my memory of vines isn't a bad one)
There are places in the world I have no idea how they look like. Others have taken me by surprise, like when living in New York City - which a cinematic experience if the city made me feel completely at home as soon as I got there, and after that a very own personal memory of the city has changed the way I see very movie that is set in that city. And finally there are places, random recollections in the backstreets of our mind, that are there already because they belong to us, and like a puzzle they form the automatic recognition of what is being processed by our eyes...
Are we always processing memory? Are we seeing everything in delay, and waiting for our brain to establish connection or save that information so we remember it later on?
We live in this process of storing information perceived by our senses... I still have present the smell of a toy I had as I child, a purple panther that belonged to the collection of He-man toys I had. A smell impossible to describe, a smell I never smelled again in my life, I don't know if it's a real smell, as a matter if fact it could have been a characteristic smell placed in the toy itself to make addicted and wanting to buy more... I don't know.
And the only thing that made me write about this was hit only about the problematic of human memory, but because sometimes you become aware of his your body works, of its intelligence, of its internal software intended to process information.
I'm made of all the memories I carrie inside, and sometimes I rather don't share something because -like yesterday - I will, as long as my memory works, remember the world in my own way, and there are sunsets, and vines, and gardens, and smiles, and conversations, and places that have become mine, because when I close my eyes they are there as part of me, and me as a part of them...

terça-feira, outubro 08, 2013

meeting within

(Lisa & Daniel v.2 - 2013)

(Paris, Texas - 1984 -2013)

segunda-feira, outubro 07, 2013

Backstreets of the internet...

Produced by W+K 東京LAB

This film provides a glimpse of the type of creative culture that exists online behind the language barrier on the backstreets of the Internet in Japan.

Will Japanese Internet culture have an impact on global pop culture the way that Japanese street culture did? Are all Internet memes secretly manufactured in a warehouse in the Japanese countryside? No-one can say. But perhaps this video will allow you to form your own point of view.

Taken from here: http://www.newrafael.com/back-streets-of-the-internet-tokyo/

About someone sitting next to you...

In this month’s fiction podcast, David Sedaris reads “Roy Spivey,” by the writer and filmmaker Miranda July. The story, which appeared in the The New Yorker in 2007, is about a young woman’s encounter with a famous actor aboard an airplane, and the reverberations of their exchange throughout her life.

The narrator meets the “Hollywood heartthrob,” whom she refers to as “Roy Spivey,” (it’s “almost” an anagram of his name, she coyly tells us), when she is seated next to him after being updated to first class on a flight. At the end of a flirtatious plane ride, Spivey writes a number on a page of her SkyMall magazine—a phone number with the final digit missing, which he instructs her to memorize—and, though she never calls the number, the memorized digit becomes a talisman that she relies upon during painful moments later in her life.

True to July’s style as a storyteller, the exchange between the narrator and Spivey is awkwardly hilarious—she tries to wash her smelly armpits in the bathroom, he ends up spritzing them with Febreze for her—but the story is, finally, about the flipside of the narrator’s in-air fantasy: her heartbreaking paralysis when it comes to real life. Here she is in the aftermath of the flight:

That evening, I found myself standing in the middle of my living room floor. I had made dinner and eaten it, and then I had an idea that I might clean the house. But halfway to the broom I stopped on a whim, flirting with the emptiness in the center of the room. I wanted to see if I could start again. But, of course, I knew what the answer would be. The longer I stood there, the longer I had to stand there. It was intricate and exponential. I looked like I was doing nothing, but really I was as busy as a physicist or a politician. I was strategizing my next move. That my next move was always not to move didn’t make it any easier.

Sedaris, whose most recent New Yorker piece was about Valentine’s Day and taxidermy, says he was “completely, mysteriously shaken up” by July’s story when he first read it. He compares the experience to that of reading works by Lorrie Moore; though seemingly loaded with jokes, the lighter parts of the narrative accumulate into an unexpectedly affecting whole. “I’m laughing, I’m laughing, I’m laughing,” says Sedaris, “and, at the end, I’m just devastated.”

You can hear Sedaris’s reading of “Roy Spivey,” and his discussion with The New Yorkers fiction editor, Deborah Treisman, by listening above or by downloading the podcast for free from iTunes.

Read more: http://www.newyorker.com/online/blogs/books/2012/11/fiction-podcast-david-sedaris-reads-miranda-july.html?printable=true&currentPage=all&mobify=0#ixzz2h2j28QbP

quarta-feira, setembro 25, 2013

Radio Shows: David Diamond

"Narratives that we devise can help prevent us from becoming powerless." -- Anne Bogart

Anne Bogart comments her own statement:
...well if you can't tell the story of where you've come from you have no way of creating a relationship with someone; I think that narratives create empathy, so you and I are having a conversation David (Diamond) and maybe other people are listening, and our ability to create relationships with eachother or with those who are listening, and maybe not speaking, is based on my ability and your ability to create a narrative about where we come from and how we might create a bridge between us.

terça-feira, setembro 24, 2013


…mankind is now threatened by self-created and deadly dangers that are growing beyond our  control. Our world is, so to speak, dissociated like a neurotic, with the [Islamic World] marking the symbolic line of division. Western man, becoming aware of the aggressive will to power of the [Middle East], sees himself forced to take extraordinary measures of defense, at the same time he prides himself on his virtues and good intentions. What he fails to see is that it is his own vices, which he has covered up by good international manners, that are thrown back in his face by the [Islamic] world…It is the face of his own evil shadow that grins at Western man from the other side of the [Middle East]. It is this state of affairs that explains the peculiar feeling of helplessness of so many people in Western societies. (Jung, [1964]1968: 73).

sábado, setembro 21, 2013

on repeat: Jolene(s)

Also listen to BitchTapes Mixtape

sexta-feira, setembro 20, 2013

matters of memory activation

“How does one maintain the forward trajectory towards innovation without rendering an absolute rupture between the old and the new and losing sight of the histories that contextualize recent developments?”

-- Alice Yang (Curator) in the Catalogue for | Temporarily Possessed: the Semi-Permanent Collection: September 15-December 17, 1995 (New York: New Museum of Contemporary Art, 1995), 155.


quarta-feira, setembro 18, 2013

matters of the light and air

And this flow of light which could produce a place, this flow of air which could produce a sound, all of it remaining unpredictable, – this incidence could have a moment of hesitation, in the case that at least two people are there.

Maria Nordman, POIEMA (Cologne, 1982).

new (or not so new) cinematic aesthetics

Watch NOAH @ Youtube
This short is only available for a limited time and will be removed from YouTube on September 19th.

"The 17-minute, mildly NSFW Noah is unlike anything you've seen before in a movie--only because it is exactly like what many of us see on our computers all the time. Created by Canadian film students Walter Woodman and Patrick Cederberg, the film begins when our high school senior protagonist types in the password that opens up his laptop, and the narrative takes place entirely on his computer screen."
  -- more here

a whole "new" genre in itself ? check here
This new cinematic aesthetics of density seems to be highly appropriate for out age. If, from a city street to a Web page, we are surrounded by highly dense information surfaces, it is appropriate to expect from cinema similar logic. (In a same fashion, we may think of spatial montage as reflecting another contemporary daily experience: working with a number of different applications at once on a computer. If we are now used to distribute and rapidly switch our attention from one program to another, from one set of windows and command to another set, we may find multiple streams of audio-visual information presented simultaneously more satisfying than a single stream of traditional cinema.) 
-- Lev Manovich (Macrocinema)


sexta-feira, setembro 13, 2013

mass media mediums

By the late 1960s, television had become a pervasive mass medium viewed in virtually every home. On home television sets, the public was offered a homogeneous selection of programming that  followed formulas for structure, running time, and content. The viewer's perception of the medium was largely determined by the role television had come to play as a commercial entertainment and information industry whose success - and therefore profit - was gauged by the number of viewers it attracted. In an attempt to challenge the television industry's hegemony, many artist-activists worked, often as collectives, to use video as a tool for social change. At the same time, video artists began producing tapes and installations designed to explore the medium's potential for a new aesthetic discourse. 

in "New American Video Art" - Introduction by John G . Hanhardt, Curator, Film and Video

quarta-feira, setembro 11, 2013


Still from Send/Receive (1977, Liza Bear, Keith Sonnier)

A primer in satellite system operation, Send/Receive extends the critique of media as commodity by asking questions concerning the people's right to access satellites. The objective of Send/Receive was specifically to connect groups of artists on the East and West Coasts via public satellite, and it was the first artist-initiated project to do so. Part I presents an in-depth study of the politics and possibilities of using satellite networks to establish a two-way communication system for public use, as opposed to the industry-driven, militaristic and mass media uses to which satellites are currently restricted. Part 2 excerpts a live satellite feed between New York City and San Francisco.

"Communication" :: related


ikono On Air Festival - Official trailer from ikono tv on Vimeo.


ikono is a TV and multimedia platform broadcasting visual art and making it accessible to a global public.
We features a continuous flow of videos 24/7 without any added sound, narration or traditional commercial interruptions and bring art to over 35 million households in more than 30 countries through its HDTV channels ikonoMENASA and ikonoTV.

sábado, agosto 31, 2013

Future Feminism

"I've been thinking all day about the moon. Like, is it an accident that women menstruate once a month and that the moon comes once a month? Are other animals synchronized in this way with the moon? You know, my brother works in mental health and he says that there's a lot more hospitalizations and periods of activity during the full moon. It's a known fact in mental health that people are more excitable around the full moon.
"And then, what about the fact that we're made of 70% water? And then the whole ocean reacts to the full moon, right? In a serious way. Everything's ticking around that moon and if we're 70% water I must be having some at least homeopathic relationship with the changing cycles of the moon.
"I can't escape my obsession with the idea that I'm made out of this place, because I was raised to believe that I fundamentally was constituted of spiritual matter that was from somewhere else like Heaven or from a Sky God. Like Gore Vidal talks about Sky Gods and I really picked up that language because in patriarchal monotheisms we all worship a God elsewhere who has a plan for us in a paradise elsewhere: After we die there will be a paradise waiting for us and this place is like a work station where we sort of get all our 'T's crossed and our 'I's dotted before we go off to a real spiritual dimension.
"But I'm a witch. I actually de-baptised myself. And what's great about being transgender is you're born with a natural religion. It applies almost across the board no matter what culture or economic group or nation that you're from you're almost automatically a witch. None of the patriarchal monotheisms will have you. It's very clear that in most of those religions you'd be put to death. In many parts of the world you still are put to death.
"Did you hear what the Pope said a couple years ago on Christmas? He said that the marriage of gays and lesbians was as much a threat to the future of our world as the collapse of the rain forests. [audience laughter] So, that gives you a sense just an inkling to his approach to the homosexual question. [laughs] And that's just the homosexual question. He didn't even address the transgender question. [sarcastically] God knows what we've caused. All sorts of wars and strife all manner of hurt.
"I'm worried that the ecology of the world is collapsing and that I won't have anywhere to be reborn because I actually believe, like, where is any of us going? Where have any of us ever gone? We've come back here in some form. Did you know that whales were once land roaming mammals? And then they crawled back into the ocean trying to find something to eat? And then eventually they got rid of their hands and legs.
"I've been searching and searching for that little bit of my constitution that isn't of this place and I still haven't found it. Every atom of me, every element of me seems to resonate, seems to reflect the great world around me. So, I've come to the conclusion that this is God's best idea that this manifest world is the frontier of his dream, or her dream in my opinion. So, that's just my point of view from where I can start to establish a new way to value the world that I'm a part of. Cause if I'm not heading off to paradise elsewhere when I die then I have more of a vested interest in observing a sustainable relationship with this place.
"It's a very indigenous idea that the Earth is a female, that the Earth menstruates, that the water of the world is the blood of a woman's body and that's what we crawled out of just in the same way that we crawled out of our mother's wombs. It's the most basic idea; any child could come up with it and it's so obvious. And yet we've been straining for these Sky Gods for a couple thousand years now. And I remember praying to God when I was like six years old. I was raised Catholic and I prayed really hard, and I waited and waited to hear that summons. I think in a funny way, a lot of my music I'm listening for that response still.
"I've heard two rumors about the Dalai Lama. One is that he said he wasn't going to be reincarnating because the world was going to be too dangerous and that's probably just a rumor. But then I heard a far more interesting new rumor, which is that the Dalai Lama said the next time he incarnates it will be as a girl, which will be the first in the history of Buddhism. But I think that that is the most revolutionary thing he could possibly do and the most helpful spiritual gesture that he could make. And I'm very interested in the feminization of the deities. I'm very interested in Jesus as a girl. I'm extremely interested in Allah as a woman. And contrary to popular opinion, it's not bad to say that you can say it. I mean you might get a little letter in the mail but I'm probably due a hundred letters in the mail already, so... [laughs]. It's a wonderful day to die.
"But nonetheless, Allah as a woman is a critical threshold and Buddha as a mother is another one because I truly believe that unless we move into feminine systems of governance we don't have a chance on this planet [applause]. And there's no one else that can lead the masses to do that except for, like, the major religious institutions. And I'm someone who's looking for a reason to hope, and for me hope looks like feminine systems of governance being instated in, like, the major religious institutions and throughout corporate and civil life. And it might sound far-fetched, but if you look at your own beliefs, just imagine how quickly you accepted the idea that the ocean is rising and the ecology of our world is collapsing. We can actually imagine that more readily than we can imagine a switch from patriarchal to matriarchal systems of governance a subtle shift in the way our society works.
"It's obviously a very broad statement and of course Sarah Palin exists so don't bother me with that. But, Sarah Palin is working very much within patriarchal systems. I just love that moment when Benazir Bhutto was being interviewed and she just talked about motherhood and daughters and how she wished she'd had done more for the girls of her country. For as problematic as she was, she was an exciting forerunner."

Future Feminism - Antony Hegarty

sexta-feira, agosto 30, 2013


still from Dance in the Sun, 1953

"a dance so related to camera and cutting that cannot be 'performed' as a unit anywhere..."

Shirley Clarke | Dance in the Sun, 1953 
"Just as dance exists not in the positions the dancer takes but in the movement between the positions, so kinetic film is the movement within and between the shots."

taken from Porter, Jenelle, "Dance With Camera: Body", Dance with Camera, Institute of Contemporary Art, University of Pennsylvania, Philadelphia, 2009

quinta-feira, agosto 29, 2013

Nancy Holt

Sunlight in Sun Tunnels (1976)

Nancy Holt began her artistic career as a photographer and as a video artist. Holt's involvements with photography and camera optics are thought to have influenced her later earthworks, which are "literally seeing devices, fixed points for tracking the positions of the sun, earth and stars." Today Holt is most widely known for her large-scale environmental works, Sun Tunnels and Dark Star Park. She has created site and time-specific environmental works in public places all over the world. Holt has contributed to various publications, which have featured both her written articles and photographs. She has also authored several books. Holt has received five National Endowment for the Arts Fellowships, New York Creative Artist Fellowships, and a Guggenheim Fellowship.

THE FACE & technology

We may call tragicomedy of appearance the fact that the face uncovers only and precisely inasmuch as it hides, and hides to the extent to which it uncovers. In this way, the appearance that ought to have manifested human beings becomes for them instead a resemblance that betrays them and in which they can no longer recognize themselves. Precisely because the face is solely the location of truth, it is also and immediately the location of simulation and of an irreducible impropriety.
- Giorgio Agamben, Means Without Ends.


I AM ________________________________

Listening Post is an art installation by Mark Hansen and Ben Rubin that culls text fragments in real time from thousands of unrestricted Internet chat rooms, bulletin boards and other public forums. The texts are read (or sung) by a voice synthesizer, and simultaneously displayed across a suspended grid of more than two hundred small electronic screens.

quinta-feira, agosto 22, 2013

Mediated Space | A short writing on the interstitial space of virtuality

(Based on Wrap Up Session of the “MetaAcademy@Bates” - online lab exploring embodiment and co-creation on the internet using Nancy Stark Smith’s Underscore and other moving ideas).


“…we have to redefine and explore what a lot of the terminology means in this space.” 
-- Josephine Dorado
The sensorial fabric built between collaborators when performing/experimenting together through the mediated space raises awareness to those experimenting to the metaphysical aura that in the ends tends to define the experience and the results of such act.

Following on Josephine Dorado’s words, at one point in the video of the Wrap-Up session of this year’s Meta Academy edition at Bates College following Nancy Stark’s Underscore, this experience as many others that I’ve been fortunate to follow and be part of in the last two years ask for a re-definition of concepts used to describe sensations within the same shared physical space, an authenticity that exists even though “Touch” and “Space” don’t represent a direct action or feeling of presence in the same time and space. This only, transports us to a plane where the digital world exists as an aura from the physical world, and therefore speaking of it by referring to the already established notions of exteroception the tendency is to describe it as an outer body experience, when in fact the redefinition of those terms, or the act of working within the mediated space relies on a process of Proprioception, where one perceives the “other” by an internal recognition of our own movement and measures the strength and effort applied by comparison, establishing a proximity based on trust, just like we would do if sharing the same time-zone, place and studio. At this point touch itself exists when both cameras are on and sending information to each other, allowing whoever is behind them take advantage from that in any kind of format. That’s the power of music, we feel connected although we don’t feel physically touched by it.

The problem exists when the artifact, the physicality of such an experience exists only as digital and vanishes, or is captured, but the same happens on real time performances, that exist only between the moment they start until the moment they finish. After that is just a reproduction of that action, lived and experienced again if performed live or it exists mediated by any kind of registration if done.

The possibility of solving and transforming that into any kind of artifact is by using that encounter and transform it from what it is originally, through any kind of real time processing format (motion capture, data analysis, sound manipulation, etc.) other than that we stay in the plane of transmedia by not touching the original artifact (nowadays allowed by real time capturing, like the application used in this case, Google Hangouts) and more and more spectators demand that raw aspect of the work, Raw as Real, because that already has been re-defined.