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.


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)