sábado, dezembro 31, 2016

"If it is taken to be a solution of how to educate Generation Z and the others which will follow,..."

“If it is taken to be a solution of how to educate Generation Z and the others which will follow, then we are mistaking a painkiller for a cure. The real headache is not the how. Since the late eighties we have become enthusiastic about MOOs (text-based online virtual reality systems for multiple users connected at the same time), literary hypertexts, glove-and-goggle VR (virtual realities), HyperCard, Second Life, and now MOOCs (massive open online courses). More fashions and further acronyms will certainly follow. Yet the real headache is the what. (…) There is no clear and fixed answer to the educational what-question in hyperhistorical societies. Not only because we have never been here before, but also because, as in the past, the answer still depends on the answer to another question: what education is for.”

- Floridi, Luciano. The Fourth Revolution: How the infosphere is reshaping human reality. Oxford: Oxford University Press, 2014. (via carvalhais)
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terça-feira, dezembro 06, 2016

landproject: How does it feel to share an interface with eyes...


How does it feel to share an interface with eyes closed and no talking?

I felt light, as if I were in a field of light, changing, living light, not with human beings, and probably because that frightened me I tried to visualize you both, to imagine, how, where you were, I tried to make something I could understand of what I felt. As if you were familiar to me - I never met you, but still, apparently you became reassuring, close. (…) Dissolved I felt. Maybe even empty. Certainly destabilized. – Annie Abrahams @e-stranger

This is where I feel that this is not about being mindful, or meditating and rather about sensing and embodying and being present. And in this state of being present we may feel connected to others or we may not– if we are not, then what happens in that isolation? – Lisa Parra @parralis

The “silence” gave space to the sounds of animals, objects and machines. Close to the end I felt that had actually entered the space that us three were sharing together with others. (…) By closing our eyes we’re stripped to just ‘being’, following the rules of not speaking and not looking we are left in a place of communitary lonesomeness that continues to define our everyday world of infinite information and surveillance. – Daniel Pinheiro @daniel-pinheiro

Distant Feeling(s) #3 is part of the encounters between Annie Abrahams, Lisa Parra and Daniel Pinheiro. The 15minutes experiment took place online and was exhibited as part of Visions in the Nunnery. Participants were invited to join either at The Nunnery gallery (London) or remotely using the conference meeting software zoom.us.

As the world grows into a larger networked system, allowing ourselves to share a moment of intimacy with strangers is becoming less probable as we find ourselves immersed in a culture where the sense of time is shifting towards an invisible fastness. It was about acknowledging that system, that fabric, the technological nervous system that became present through the silence of those participating. 

Being in space means to establish diverse relationships with the things that surround our bodies. - Deleuze

As distributed digital entities we become part of an intertwined body that is whole by combining different parts of our extended selves. Telematic culture means, in short, that we do not think, see, or feel in isolation (Roy Ascott) and therefore this electronic communion is built out of the relationships that are established when we are ‘together’ and this ‘togetherness’ comes out of a suspension of disbelief*, that in this digital sphere can be the capacity extending proprioception itself – the way that we recognize and position ourselves within this context.

Keep reading

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domingo, dezembro 04, 2016


The essence of the interface is its potential flexibility; it can accept and deliver images both fixed and in movement, sounds constructed, synthesised, or sampled, texts written and spoken. It can be heat sensitive, body responsive, environmentally aware. It can respond to the tapping of feet, the dancer’s arabesque, the direction of a viewer’s gaze. It not only articulates a physical environment with movement, sound, or light; it is an environment, an arena of dataspace in which a distributed art of the human/computer symbiosis can be acted out, the issue of its cybernetic content.

Roy Ascott (1989)

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sexta-feira, novembro 18, 2016

sexta-feira, outubro 14, 2016

queersforfeminism: Jolene 33 rpm


Jolene 33 rpm

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quinta-feira, junho 30, 2016

@AndrRadioRussia: #acidwash #printscreen #qualidade...

@AndrRadioRussia: #acidwash #printscreen #qualidade #ilovesupernatural #instasiempre #sprung #faves https://t.co/dMmmSYmsM9 7356

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sábado, junho 18, 2016

quinta-feira, junho 09, 2016

In the age of Life Coaching (as an excuse to think about existence)

You’ve just realized you understand life perfectly. In fact you understand it so much that you believe you have the competence to coach others throughout their own lives.
Quit your job. Singularity. Exchange of favors. One to one.

A few years ago, in 2011, I first heard the term ‘life coach’… I was living in the US and although I didn’t quite understood immediately what was the purpose it was easy to figure out what it meant. This guy had quit his job and was a life coacher. More recently I was listening to a podcast and randomly the woman speaking said something about how she had also quit her job and was working as a life coacher.
I started thinking about this and about how we are gradually becoming more and more isolated, how we crave for support and advices. We Google 'how to’s’ and we expect an accurate explanation. We suffer from strange symptoms and the answer is there, through scary pictures that will most certainly state that we probably are in the first stages of some kind of cancer or disease, only after we actually go to a doctor and (hopefully and gladly) we most often realize it’s not that bad at all.
Deciding to think about life coaching as a symptom of our own obsolescence made me realize that while a grow more independent from each other, as most people find comfort by getting home and spending the night with multiple electronic devices that will somehow ease the fact that we in retrograde mode regarding the ultimate life experience that makes us learn.
Take all electricity out, disconnect from what reaches beyond your perimeter of physical existence and you’re left with a bunch of human faces around you that you might know.
We direct our gaze to hypnotic screens that will make us zone out and live permanently out of ourselves.
They should be called 'friends’ but you can’t because you’re paying them. They can’t be called 'shrinks’ because they probably won’t hold that degree. They are your personal uber driver, they are those squared representation of an unknown human with whom you might have friends in common on Airbnb, they’re the ones sharing goods over the Internet with strangers as long as you share yours too, they are the life coachers who will probably make you realize what you could do by yourself…
This process of (dis)individuation is a reflection of a growing network of nodes that beam their own light onto the darkness of a graph. Like a constellation of celestial (dead) bodies.

As the discussions on dinner tables span from verbs and nouns that gained status in the digital era it is important to be reminded of how mindful we must be.

We’re changing the landscape of human behavior and returning to old habits that we must have forgot somewhere along the path. We believe we’re doing something new while we’re just giving it different names.

The transition generation, the one that saw and left a different world behind, is suffering from acculturation, giving in into new formats without knowing how to question them. The consequence is one of living on a non-place. A non-place that resembles others in the past only this time we probably won’t leave a proof of our existence. The artifact, to be found by future archeologists, will probably be a huge glitchy remix, a continuous assemblage of anthropocentric representation made of fragmented versions of multiple realities… Which, in fact, is not very different from a ruin of the past only the material is not marble, or stone. The fossilization will be 3D printed…

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quarta-feira, junho 08, 2016

in favor of nature

Xenofeminism indexes the desire to construct an alien future with a triumphant X on a mobile map. This X does not mark a destination. It is the insertion of a topological-keyframe for the formation of a new logic. In affirming a future untethered to the repetition of the present, we militate for ampliative capacities, for spaces of freedom with a richer geometry than the aisle, the assembly line, and the feed. We need new affordances of perception and action unblinkered by naturalised identities. In the name of feminism, ‘Nature’ shall no longer be a refuge of injustice, or a basis for any political justification whatsoever!

in, “A Politics for Alienation” (http://www.laboriacuboniks.net/)

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terça-feira, maio 10, 2016

fear of content

Genre is central to the self’s authenticity. The self can only be parsed as “authentic” in relation to a legible set of conventions. “It is the perception of repetitions that makes a work of art intelligible,” Sontag writes in “On Style.” When I am trying to be true to myself, I turn “myself” into a genre, with readily recognizable and repeatable tropes. I can never be authentic, only authentically generic. I can create and meet a set of established stereotypes of myself. Being oneself always means being a self-parody, and being a parody of oneself is the process of self-discovery. Self-parody precedes selfhood.

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"Both relativity and quantum mechanics illustrate that you perceive yourself as being “local” even if..."

“Both relativity and quantum mechanics illustrate that you perceive yourself as being “local” even if you aren’t. Although in the external reality of general relativity, you’re an extended braidlike pattern in a static four-dimensional spacetime, you nonetheless perceive yourself as localized at a particular place and time in a three-dimensional world where things happen.”

- Tegmark, Max. Our Mathematical Universe: My Quest for the Ultimate Nature of Reality. London: Penguin Books, 2014. (via carvalhais)
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terça-feira, maio 03, 2016

THE HUMAN FACTOR (G.R.E.C., 2011)In 1914, an engineer sent away...


In 1914, an engineer sent away to reorganize a factory exchanges letters with his wife. As he tells her about his experiments in taylorism, she picks up bits and pieces of this method and applies it to her daily tasks at home. While he gets disappointed by the Taylor system, she becomes a true domestic engineer.

Mingling images of American institutional movies to extracts of handbooks on management from the 1900s and 1910s The Human Factor aims at showing the genesis of Taylorism and its main effects upon industrial societies. It is also a love story.

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on archiving movement

quinta-feira, abril 28, 2016

technology and metaphors

quarta-feira, abril 20, 2016

quinta-feira, abril 14, 2016

dirty data

One way to visualize what goes on is to turn the network upside down and ask it to enhance an input image in such a way as to elicit a particular interpretation. Say you want to know what sort of image would result in “Banana.” Start with an image full of random noise, then gradually tweak the image towards what the neural net considers a banana. By itself, that doesn’t work very well, but it does if we impose a prior constraint that the image should have similar statistics to natural images, such as neighboring pixels needing to be correlated. 

in, “Inceptionism: Going Deeper into Neural Networks,” Google Research Blog, June 17, 2015

from Hito Steyerl’s A Sea of Data: Apophenia and Pattern (Mis-)Recognition

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sábado, abril 09, 2016

Warhol’s prediction that everybody would be world-famous for...

Warhol’s prediction that everybody would be world-famous for fifteen minutes had become true long ago. Now many people want the contrary: to be invisible, if only for fifteen minutes. Even fifteen seconds would be great. - Hito Steyerl  / “The Spam of the Earth: Withdrawal from Representation

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quarta-feira, abril 06, 2016

"Photos are less markers of memories than they are Web-browser bookmarks for our lives. And, just as..."

“Photos are less markers of memories than they are Web-browser bookmarks for our lives. And, just as with bookmarks, after a few months it becomes hard to find photos or even to navigate back to the points worth remembering.”

- Om Malik, “In the Future, We Will Photograph Everything and Look at Nothing” (via newyorker)
from Tumblr http://ift.tt/1RD6AYT

segunda-feira, abril 04, 2016

“In the future I hope to do things such as to go school, study,...

“In the future I hope to do things such as to go school, study, make art, start a business, even have my own home and family [slightly sad expression]… but I’m not considered a legal person…”

from Tumblr http://ift.tt/1pXXsDw

quinta-feira, março 31, 2016

terça-feira, março 29, 2016

A Pioneering Net Artist Mourns the Unfulfilled Promise of the Internet

A Pioneering Net Artist Mourns the Unfulfilled Promise of the Internet:

“I experienced the world both pre- and post-internet, and the disappointment comes from having an overly optimistic view, in its infancy, of what it was and could be,” Roth says. Borne of the surveillance age, “Internet Landscapes” is more contemplative and less punchline-driven than Roth’s earlier net-art hijinks, a zoomed-out, skeptical investigation of what this former architect calls “the medium that made me want to be an artist in the first place.”

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sábado, março 19, 2016

search terms: #memoryloss

terça-feira, março 15, 2016

Introducing: Hito Steyerl and Devin Kenny

Introducing: Hito Steyerl and Devin Kenny
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"“Not till we are lost, in other words, not till we have lost the world, do we begin to find..."

““Not till we are lost, in other words, not till we have lost the world, do we begin to find ourselves, and realize where we are and the infinite extent of our relations.” - Henry David Thoreau”

- Excerpt From: Harris, Michael. “The End of Absence.”
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segunda-feira, março 14, 2016

Distant Feeling(s) – séance #1

Distant Feeling(s) – séance #1
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quinta-feira, março 10, 2016

image: Douglas Coupland, Slogans for the 21st Century,...

image: Douglas Coupland, Slogans for the 21st Century, 2011-2014.

Technology seems to be the one thing that pushes everyone’s button. Orthodox religions hate it. Secular capitalist cultures thrive on it—depend on it, actually. The art world looks at it with reverence, disdain, fear, and a need to codify it as quickly as possible before it codifies them—or at least to make it appear that teachers aren’t even more technologically clueless than they already seem to their students. (“Sarah, before you hand in your thoughts on my theories on time absence and accelerationism, could you quickly show me how to create a new layer in Photoshop?”)


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davidiangriess: the kitchen, 10pm, brooklyn


the kitchen, 10pm, brooklyn

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segunda-feira, fevereiro 29, 2016

Lyrics and Vocals By Anne Horel & Systaime //...

Lyrics and Vocals By Anne Horel & Systaime //
http://www.systaime.com //
http://ift.tt/QJpYR5 //


Kikoo ! Trop LOL ton post sur ton wall !
T'as vu ? J'ai mis un coeur en émoticône !
Eh Systaime ? Tu m'aimes ?
Hein dis ? Est ce que tu m'aimes ?

J'suis pas un gigolo
J'suis un robot et j'suis pas beau !


Me poke pas, c'est pas open bar ici,
All inclusive


T'auras pas de big bisou, chérie
Ravales ta salive
Mais kestu bois doudoudidon ?
C'est chaud chaud ton cacao ?

Putain, mais qu'est ce que tu fous ?
T'es où ?

J'te vois pas sur le chat
Tu te touches la chatte ?


Allo ?


Allo ?

Monsieur l'ordinateur ?

Où est passé mon coeur ?

Vas-y calme ta joie, motherfucker
T'as cru quoi ?
J'suis pas une nolife
J'reste offline j'ai trop d'amis
Même que dans le lot ya Annie Cordy

Tes vidéos pourries sur mon mur
Tes clips de Lorie sur ma page
j'fais blocage !
J'en peux plus
J'en veux plus
C'est sûr !
J’t'envoie un canard et un nounous, c'est de ton âge !


Paf paf la chienne !
Tous en sueur devant tes tofs,
Mais en vrai, t'es plutôt bof


T'es pas plus bonne qu'Anne Roumanoff !

OK tu te la joues clash !
J'suis pas une nympho qui fait son show, j'te le dit cash !
Sur mon Facebook ya pas de face et pas de hic
Allez ! Prends la fuite sur ce beat !
J'suis pas une gekette d'opérette
Allonges toi sur la banquette et manges de la blanquette !

Suck my geek
& kiss my nerd
Face 2 face
Book tes fesses

Bon allez ! J'te dis à la prochaine
Avant que je me déchaîne
J'ai pas besoin d'égérie moi,
J'suis un yogi
Je me présente pas et je m'appelle pas Henri
J’t'ai mis le compte : balle de match
Boule chienne
Chienne de vice
Vis ta vie !

Bas les masques, Amandine du 38
J’t'ai reconnue tu t'es filmée ambiance web cam
3 répliques de merde et déjà tu crois que tu slames
30033030Mille CFA
Ton égérie c'est ta mère
Problèmes de fuites urinaires

Création d'un systaime
Qui vous dit qu'il vous aime


Connection à la semaine
Relation pure et saine


Connection haut débit
Tout ce dont j'ai envie


Webmaster de ton site
Je référence par principe
Virtuose virtuel
Je dissous le réel
Ranges tes seins, Anne Horel !
Navigation féline pour facebookienne coquine

Suck my geek
& kiss my nerd
T'as free ?
Ouais, mais j'ai pas tout compris…
Suck my geek
& kiss my nerd
Face 2 face
Book mes fesses

Tu t'es trompé de profile, banane
Mon nom c'est “Horel Anne”
C'est pas Orelsan
Tu l'as dit bouffi j'suis une femme enfant salope
Et sur le web, j'suis une vraie nyctalope
Tu me parles de cul, jte réponds *pouet pouet*
Mon truc c'est les vidéos de chats et les couettes
Ce que j'aime chez Systaime c'est son port ethernet
Son avatar badboy et son site internet
J'suis pas une coquine
J'suis une maline
J'alimente le fantasme en restant insaisissable
Si t'es sage, p’t'être t'auras mon numéro de portable
J’t'excite putain, c'est bien ma guigne !

Ok Ok sorry ! Je m'incline
Je deviens clean
Je décline
Les invitations
De lévitation
Montes le son !
Je te donnes toutes mes différences
Ideal Standard, je reste pieux
Dans le tien, ça serait mieux !

Tu t'es frotté, tu t'es piqué
Tu sais, chéri j’t'ai épargné !
J'ai créé le groupe Systaime enculé
Enculés par le Systaime
Ta libido, ça c'est pas mon problème !
Moi je croyais que Facebook c'était pour se faire des amis
Je sors dans la vie réelle si je veux quelqu'un dans mon lit
Je tomberai pas dans tes travers de porc !
Et je te posterai pas des photos de mon corps !

Je suis l'as de trop qui pique ton coeur
J’t'ai cassé le ass en trèfle sur le tapis !
J'me tiens à carreau et j'en casse un …
Allez ! Je partage ton post !

Suck my geek
& kiss my nerd
Face 2 face
Book tes fesses

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quarta-feira, fevereiro 24, 2016


quinta-feira, fevereiro 18, 2016

terça-feira, fevereiro 16, 2016

Young, Attractive, and Totally Not Into Having Sex

Young, Attractive, and Totally Not Into Having Sex
from Tumblr http://ift.tt/1SRg0SB

time&numbers: the 1970′s glitch

unix epoch

[0000000000000000000000000000000000000000000000000000000000000000 = 1.1.1970 00:00:00 - 1111111111111111111111111111111111111111111111111111111111111111 = 04.12.292277026596 15:30:07]

this phrase was time-stamped at: 1455658793 seconds since Jan 01 1970. (UTC) //  02/16/2016 @ 9:39pm (UTC)

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segunda-feira, fevereiro 15, 2016

(via https://www.youtube.com/watch?v=ZRChOKmt2Fo) ‘Our...

(via https://www.youtube.com/watch?v=ZRChOKmt2Fo)

‘Our interest is relation. With our “Relation work” we cause a third existence, which carries “Vital Energy”. This third energy existence conjured by us does not depend on us any longer, but has its own quality which we call That Self. Three as a number means nothing else but “That Self”.’ 'That Self’ (1980) actually includes various components, which can also function as separate works. The work opens with three monochrome colour fields - red, blue and yellow - that remain on the screen for some time. This is accompanied by a sustained tone, which now and then becomes slightly higher. After this non-figurative opening, 'That Self’ continues with four performances, especially executed for the purpose of this film. The common starting point of these separate components is hypnosis. Ulay and Abramovic said: 'We had training in hypnosis. Our aims were to search and explore the subconscious. We chose to realize three colour fields and four visions which were described by us under that treatment. The four visions were translated into performances for film.’ These performances are not about extending limits by means of physical exhaustion, but rather, about the power of concentration. -  Marina and Ulay

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segunda-feira, fevereiro 08, 2016



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on video

As a result of the tool’s unprecedented usefulness, video conveys far too much information to be counted among the traditional plastic arts. It supports characteristics that would connect it more appropriately to the temporal arts of music, dance, theater, literature or cinema. Nor is it a tangible object, and fine art almost invariably is, but rather the ethereal emanation of a whole set of complicated electro-magnetic devices. In fact video is more an end than one specific means; it is a series of electronic variations on aa audio-visual theme that has been in continual progressive flux since its inception. For the purposes of art, video’s theoretical and practical possibilities are so inconceivably vast, its versatility so immeasurably profound and of such perplexing unorthodoxy, that even after a quarter of a century, the medium’s defenders are still struck with vertiginous awe as if glimpsing the sublime.

- Marc Meyer, Being & Time

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quinta-feira, janeiro 28, 2016


from Tumblr http://ift.tt/1SM9gEY

sábado, janeiro 23, 2016

landproject: “what does it mean being human in the future?”...


“what does it mean being human in the future?” “how to be seen?” “the in between as a potential for connection…” the constant transformation caused by a state of permanent transition was present in Eli Steffen’s questions for his curation of Gray Spaces @ the Wild Project, as part of the Contemporary Performance Network Festival, Special Effects.

While addressing some of these questions in our work, this version of LAND PROJECT / Placelessness (first developed in residence in October, 2015) took on the following premise: negotiating movement within the in-betweeness of the digital space, as a response to one of the themes of Gray Spaces - the ‎uncharted topographies of performance‬.

Where are you when you’re not here?! Where is here…?

Keep reading

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sexta-feira, janeiro 22, 2016

Glitch Art as a Path to Digital Literacy



Going back through Nick Briz’s essay, I am trying to come up with a better understanding of digital literacy so as to better comprehend Glitch Art. The most explicit definition of digital literacy from the essay is that it is a “prerequisite for agency in the digital age” and as such, it transcends the parameters that limit individual agency in digital media. By asking viewers to practice glitch art in everyday life, Nick Briz is imploring viewers to reflect on what technology (and by extension, social media) isn’t designed to do and to glitch it to reclaim agency in one’s digital space. I personally interpret glitch art as an act of resistance in response to the idea that the conventional use of technology is the only functional use of technology.

Yes. I think that’s a good, accurate, interpretation of Briz’ message.

I wonder though, as he asks us to do a glitch at the beginning of the day, with our morning coffee….isn’t that kind of ridiculous in terms of being a political gesture?

from Tumblr http://ift.tt/1RYjOB3

segunda-feira, janeiro 18, 2016

☛ God, Justice, Love, Beauty by Jean-Luc Nancy

Love opens onto a very great risk, but this risk is the measure of the incredible value we place on another per­son. We make him or her this valuable because we need to do so, because we receive something in return. Love tells us that things are never quite right with us when we’re alone. We’re not made to be alone, just as we’re also not made to be in large groups. This doesn’t mean that everything is automatically fine when we’re with another person. But when we are with him or her, we know that “something’s going on,” as they say. We are made to be in relation with another person, one with whom “some­thing’s going on”-something that’s never definable but that’s a real relation, in the strong sense of the word. I’m not saying that we are all, or always, made to spend our entire lives with one and the same person.

. It’s true, though, that love does say this “love ever after.” We do promise to love each other forever, but then sometimes it’s all over three days later.

But that’s part of the risk of this absolute commitment.

☛ God, Justice, Love, Beauty by Jean-Luc Nancy, tr. by Pascale-Anne Brault and Michael Naas, Fordham University Press, [2009] 2001, p. 76

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sábado, janeiro 09, 2016

“Performance Beyond Genre”  a definition by Josette Ferai

Performance Beyond Genre | DEFINITION 

To attempt to define performance is a difficult enterprise.[8]  Without any doubt, the very nature of performance defies definition. It is the artists that have individually established the precepts used to define the genre; it is the artists that continue to reinvent it within the context of each new performance. From the rituals of Hermann Nitzsch to the installations of Christo, from the concerts of Laurie Anderson to those of Meredith Monk, from the experiences of Chris Burden to those of Jochen Gerz, from the interventions of Terry Fox to those of Rachel Rosenthal, the distance is so great that any attempt to establish bridges or to identify constants would be utterly pretentious. However, over and above such diversity, a certain number of processes can be identified, methods and devices which govern the deployment of the various materials that performance uses and which give it its own particular dynamic properties. These processes, which we shall outline here, have been part of performance from its very inception ; it is the theoretical description of them that has arrived late. Thus, they are not new to actual practice. 

Although the art of performance is alive and flourishing today, its tendency towards innovation has, on the other hand, diminished considerably. Nevertheless it remains that for those who are interested in the theatre, the art of performance is a very privileged vantage point from which to view the relationship between the performer and the theatrical environment, between the performer and technology. 

Performance breaks the boundaries between genres and introduces a continuum between zones formerly judged to be irrevocably exclusive : art and life, greater and lesser art forms, between the sophisticated and more common genres. In the same way, it no longer makes a clear distinction between music and noise, poetry and prose, reality and image, movement and dance. Refusing both rupture and confinement, performance takes for granted that which the twentieth century affirms in its totality: that progression from one level to another within the same discipline is continuous, levels being analogically rather than digitally related. For example, performance affirms that walking and dancing belong to the same continuum of movement, there being only an imperceptible distinction between them (e.g., the work of Pina Bausch), that the sound of the voice and the hammering of metal share fundamental musical components (e.g., the work of Meredith Monk). Thus, the very concept of the work of art is brought into question. By its transient nature, its structure, by the means that it deploys and the objectives it aims to attain, performance refutes the very notions of “masterpiece” and “work of art” in the traditional sense, substituting for them the concept of a transitory and fleeting work. Although these concepts are not new, it seems useful to recall them here, for they constitute the foundation upon which performance was built at its inception. Nevertheless, their innovative value has dimmed due to the fact that they have today spread to all the arts, proving that certain initially radical reforms have now become an accepted part of cultural mores. 

in -  PERFORMANCE AND MEDIA “The Use of Image” by Josette Ferai

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sexta-feira, janeiro 08, 2016

“May I present to you two thousand eleven. Oh, no, wait...

“May I present to you two thousand eleven. Oh, no, wait a minute… Twenty Eleven”… 

…35 years back in time shows us Sam Klemke, filming his life every year of his life since 1977. The same year Elvis died and that the ‘Voyager’ craft was launched into deep space… While Sam continued to film and document his meaningless and ordinary life as an on the road cartoonist, the golden record - a self portrait of mankind, containing our best features, accomplishments and multi-cultural forms of expression - still travels across space (and soon will reach interstellar space where we will no longer have contact with it). It is about the need of understanding ourselves through something greater than ourselves, giving meaning to the meaninglessness… Sam never thought that his archive would get the attention it got. The golden record is, in fact, a misrepresentation of what we are. But both represent hope and the need to look back in time, to those time capsules, and realize that we are still foreigners to each other. To ourselves. Carl Sagan asked NASA to turn the Voyager camera backwards so we could have a picture of what we are… A pixel, a bright dot in the middle of nothingness. The idea of an extraterrestrial audience was at the time an excuse to compile information  about humanity at a certain moment in time. In the end, it’s about trying not to feel alone, it’s about indulging our obstinate nature of perceiving ourselves through representation  , about sending out a fragmented version of the whole and expecting that it is perceived as such.

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quarta-feira, janeiro 06, 2016

"As Morehshin Allahyari, a new media and digital artist, educator, and curator, put it: “I have..."

“As Morehshin Allahyari, a new media and digital artist, educator, and curator, put it: “I have struggled, feeling isolated in the new media art scene, being frustrated with the white and specifically Western topics, exhibitions, articles, panels, etc., that also happen to always be the bubble of the same 30 artists. Rarely are new or unknown faces or artists being introduced or brought into these communities. Even when it comes down to feminist issues and events focused on women, WOC are mostly excluded. Their bodies, concerns, daily life struggle are rarely taken seriously or included in a lot of these events and publications.””

- Towards a New Digital Landscape — Magazine — Walker Art Center (via notational)
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terça-feira, janeiro 05, 2016

domingo, janeiro 03, 2016

The Essence of Peopling

The Essence of Peopling:

More and more moments are interstitial, in between the allegedly “real” moments of living. We don’t interact with each other, because we are just getting from place to place, perhaps simulating past and future moments in our imagination. And gradually these not-really-living moments can come to occupy the majority of our lives. Perhaps many of us who identify as introverts are just especially sensitive to the ugliness and awkwardness of modern built and social environments. We might be very happy with a quiet, pleasant, constant flow of positive social information (especially if plenty of privacy were still available).

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