Thursday, April 30, 2009

[Yasmin_announcements] [FW][spectre] Fwd: Do NOT touch the Internet

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[Yasmin_announcements] Exhibition Launch - In Particular

x=x= apologies for x-postings =x=x

Please joins us for a drinks reception to launch In-Particular - an
exhibition of works by Julie Freeman representing the culmination of
an artist residency with Professor Jeremy Ramsden, at the
Microsystems & Nanotechnology Centre, Cranfield University.

6 - 8pm Wednesday 6th May 2009


Vincent Building Atrium, Cranfield University, College Road,
Bedfordshire, UK, MK43 0AL


Guests will receive a limited edition copy of Nano Novels.
Refreshments will be provided.

Please RSVP to: jmanners@mannerspr.co.uk

Exhibition runs until September 2009. Free entry and fully accessible
to all. http://www.in-particular.net

**** An alternative LONDON event will be held at The Science Museum's
Dana Centre, June 2nd 2009 ****

With kind regards,

julie@translatingnature.org
www.translatingnature.org
±±±±±±±±±±±±±±±±±±±±±


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[Yasmin_announcements] April 3- on marseille: Rencontre Art, technologie, culture : l'animation numérique

To: Colette Tron <coletron@orange.fr>

Art, technologie, culture

Cycle de rencontres proposé par Alphabetville, ZINC, Leonardo/Olats

Les basiques du numérique : l'animation numérique

Le 30 avril à 18h30 au Cyber de la Friche - Marseille

Présentation du dernier Basique du numérique, conçu par Leonardo/Olats
: L'animation numérique, dont Verónica Camacho est l'auteur.

Il fut un temps où la modélisation en images de synthèse 3D et
l'animation d'une théière firent l'effet d'une révolution.
Aujourd'hui, l'animation numérique a conquis à peu près tous les
domaines (animation courte, cinéma, publicité et télévision, imagerie
scientifique, mais aussi le spectacle vivant ou encore les jeux
vidéos) et tous les écrans, petits ou grands, et se niche même au fond
de nos poches, sur nos téléphones portables.
De fait, la définition même "d'animation numérique" n'est pas aussi
simple qu'il y paraît. Dans ce Basiques, Verónica Camacho dresse un
tableau de son histoire, de ses techniques, de ses enjeux artistiques
et esthétiques et de ses applications.

Présentation par Verónica Camacho, suivie d'une discussion avec le public.

Plus d'informations sur les Basiques :
http://www.olats.org/livresetudes/basiques/

Entrée libre

Renseignements : 04 95 04 95 12

--------------------------------

Alphabetville

Friche Belle de Mai

41, rue Jobin

13003 Marseille

0491626075

www.alphabetville.org

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[Yasmin_announcements] Fwd: Yasmin mod schedule

Yasminers

YASMIN is not a perpetual motion machine !

Behind the scenes there are volunteers who agree so serve
as moderators ( current schedule is listed below).
If any one would like to help and be a moderator,
we welcome new energy ! Ideally you live or were born within
a reasonable distance to the Mediterranean, or you
wish you did !! Ideally as a moderator you agree once a year
to propose a discussion topic and organise the monthly
discussion on the YASMIN discussion list.And you agree
on a regular basis to send new of events etc in your region
to YASMIN announcements.

I am sending this to both the YASMIN discussion list and
YASMIN announcement list. In general we recommend that you
subscribe in the DIGEST mode so you dont get flooded by
emails.

We welcome collaboration with other groups who would like
to use the YASMIN discussion list in connection with a conference
or project, priority for event is within range of the Mediterranean.
There are currently about 1500 people on our list.

Here is the current moderator schedule. We have a prime and
a back up moderator.

Roger Malina

and thanking Charalampos Rizopoulos and the Greek team
for keeping things running and solving problems behind the scenes !!


From: Charalampos Rizopoulos

Hello

The slightly modified schedule for this month is as follows:

127/04/2009 - 03/05/2009 Nina Czegledy Roger Malina
2  04/05/2009 - 10/05/2009 Dimitris Charitos Nina Czegledy
3  11/05/2009 - 17/05/2009 Pau Alsina Ricardo Mbarkho
4  18/05/2009 - 24/05/2009 Guillermo Munoz Pau Alsina
5  25/04/2009 - 31/05/2008 Ricardo Mbarkho Guillermo Munoz
6  01/06/2009 - 07/06/2009 Myriam Hammani Dimitris Charitos
7  08/04/2009 - 14/06/2009 Roger Malina Myriam Hammani


Charalampos Rizopoulos

If you have any problems/suggestions re YASMIN operation
you can contact: "Yasmin Tech" <tech.yasmin@gmail.com>,

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[Yasmin_discussions] Fwd: Yasmin mod schedule

Yasminers

YASMIN is not a perpetual motion machine !

Behind the scenes there are volunteers who agree so serve
as moderators ( current schedule is listed below).
If any one would like to help and be a moderator,
we welcome new energy ! Ideally you live or were born within
a reasonable distance to the Mediterranean, or you
wish you did !! Ideally as a moderator you agree once a year
to propose a discussion topic and organise the monthly
discussion on the YASMIN discussion list.And you agree
on a regular basis to send new of events etc in your region
to YASMIN announcements.

I am sending this to both the YASMIN discussion list and
YASMIN announcement list. In general we recommend that you
subscribe in the DIGEST mode so you dont get flooded by
emails.

We welcome collaboration with other groups who would like
to use the YASMIN discussion list in connection with a conference
or project, priority for event is within range of the Mediterranean.
There are currently about 1500 people on our list.

Here is the current moderator schedule. We have a prime and
a back up moderator.

Roger Malina

and thanking Charalampos Rizopoulos and the Greek team
for keeping things running and solving problems behind the scenes !!


From: Charalampos Rizopoulos

Hello

The slightly modified schedule for this month is as follows:

127/04/2009 - 03/05/2009 Nina Czegledy Roger Malina
2  04/05/2009 - 10/05/2009 Dimitris Charitos Nina Czegledy
3  11/05/2009 - 17/05/2009 Pau Alsina Ricardo Mbarkho
4  18/05/2009 - 24/05/2009 Guillermo Munoz Pau Alsina
5  25/04/2009 - 31/05/2008 Ricardo Mbarkho Guillermo Munoz
6  01/06/2009 - 07/06/2009 Myriam Hammani Dimitris Charitos
7  08/04/2009 - 14/06/2009 Roger Malina Myriam Hammani


Charalampos Rizopoulos

If you have any problems/suggestions re YASMIN operation
you can contact: "Yasmin Tech" <tech.yasmin@gmail.com>,

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Wednesday, April 29, 2009

[Yasmin_announcements] CAS May Meeting - Jörn Ebner

!!Reminder!!

The Computer Arts Society is pleased to invite you to our May
meeting. This event is open to the public and is free. This
will be our final meeting for Spring. We would like to thank
everyone who has supported our programme and look forward to
seeing you all again in the Autumn.


Wednesday 6 May 2009
6:30 for 7:00pm
London Knowledge Lab - Institute of Education
23 - 29 Emerald St
London WC1N 3QS, England
Tube: Holborn, Russell Square or Chancery Lane
Map: http://tinyurl.com/6h5cds

Jörn Ebner

"In this artist's talk I will present notions of the use of
objects, landscapes / cityscapes and song / sound in the context
of my online works. Beginning with earlier performative pieces, I
will speak about sculptural notions - the use of space and
objects - in my early online works 2000-2004. My move to
understand the internet as a physical element of landscape since
2005, and recent browser-based structures about
central-peripheral cityscapes."


Jörn Ebner, born 1966, visual artist. Studied Fine Art at Central
Saint Martins, London [1995-98], and English Literature at
Universität Hamburg [1990-95]; he currently lives in Berlin,
Germany. His works are predominantly located online, yet refer
back to the viewers' situation in the physical world or operate
in the public realm. In 2008 and 2006 Ars Electronica Festival
commissioned two visual accompaniments for performances by the
Bruckner Orchestra. In 2001 his work "Lee Marvin Toolbox" was
awarded the Kunstpreis des Medienforums München. His works are
shown in international galleries and festivals (Siggraph; FILE;
Stuttgarter Filmwinter; Viper; selection FILE Rio).

http://www.jornebner.info/


CAS 1968-2009 - supporting the Computer Arts for over 40 years
http://www.computer-arts-society.org
CAS is a BCS Specialist Group

====
Paul Brown - based in OZ April to June 2009
mailto:paul@paul-brown.com == http://www.paul-brown.com
OZ Landline +61 (0)7 5443 3491 == USA fax +1 309 216 9900
OZ Mobile +61 (0)419 72 74 85 == Skype paul-g-brown
====
Visiting Professor - Sussex University
http://www.cogs.susx.ac.uk/ccnr/research/creativity.html
====


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[Yasmin_announcements] Fwd: RAMI INFO/ JOLI MOIS DE MAI DES INSTANTS VIDEO

First International Video Art Festival of Palestine in Ramallah,
Jerusalem and Gaza

---------- Forwarded message ----------
From: Claudine Dussollier <cdussol@lafriche.org>
Date: 2009/4/29
Subject: RAMI INFO/ JOLI MOIS DE MAI DES INSTANTS VIDEO
To: RAMI INFO <cdussol@lafriche.org>

LE JOLI MOIS DE MAI DES INSTANTS VIDEO
Le 19 mai s'ouvrira le 1er Festival international d'art Vidéo de
Palestine à Ramallah, Jérusalem et Gaza. En exergue de cette nouvelle
aventure qui s'engage, nous souhaiterions inscrire les deux citations
choisies par les neufs intellectuels de Martinique, Guadeloupe, Guyane
et Réunion en ouverture de leur splendide « Manifeste pour les «
produits » de haute nécessité » :
« Au moment où le maître, le colonisateur proclament « il n'y a jamais
eu de peuple ici », le peuple qui manque est un devenir, il s'invente,
dans les bidonvilles et les camps, ou bien dans les ghettos, dans de
nouvelles conditions de lutte auxquelles un art nécessairement
politique doit contribuer. » Gilles Deleuze (L'Image-Temps) ;
« Cela ne peut signifier qu'une chose : non pas qu'il n'y a pas de
route pour en sortir, mais que l'heure est venue d'abandonner toutes
les vieilles routes. » Aimé Césaire (Lettre à Maurice Thorez)
Mais d'ici là, d'autres aventures passionnantes à Bourges et à
Marseille. Où que vous soyez, où que vous alliez, nous serons toujours
heureux de vous croiser sur notre chemin.
Bourges : mercredi 6 mai à 17h30
Festival Bande Images
Programmation « Des trajets moyen-orientaux » avec des œuvres de
Nisrine Boukhari (Syrie), Taysir Batniji (Palestine), Majed Shala
(Palestine), Nahed Awwad (Palestine), Till Roeskens (France), Sharon
Horodi et Cheb M. Kammerer (Israël), Marc Mercier (France)
Marseille : Vendredi 8 mai à 19h
Vol de Nuits
Programmation vidéo, performances et (cir)conférence autour du thème «
De la solitude au collectif » dans le cadre des « actes de
confrontations ». Avec le collectif Sauf le dimanche, Lieux Fictifs,
Aline Maclet, des films de l'Odin Théâtre, de Marc Mercier (et de ses
complices détenus)…
Ramallah / Jérusalem / Gaza (Palestine) : 19 au 24 mai
1er Festival d'Art Vidéo de Palestine que nous organisons avec la
Qattan Foundation, avec le partenariat des Centres Culturels Français
de Ramallah et Gaza, Goethe Institut, Birzeit Virtual Gallery, Art
Academy, Al Mahatta Gallery, Khalil Sakakini Center (Ramallah), Al
Hoash Art court, Al Mamal Foundation for Contemporary Art (Jérusalem),
grâce au soutien de Cultures France, le Consulat de France à Jérusalem
et le Conseil Régional PACA.
Programmation et exposition palestinienne avec Sharif Waked, Raeda
Saadeh, Jumana Abboud, Mohamad Harb, Khalil Rabah, Shadi Habiballah,
Taysir Batniji, …
Exposition d'installations vidéo de Bill Viola (USA), Kacha Legrand
(France), Hakeem B (Algérie), Mariana Vassileva (Bulgarie/Allemagne),
Richard Skryzak (France), Dominique Angel (France)…
Performances de Manar Za'rob (Palestine), Julien Blaine, Pascal
Lièvre, Natacha Muslera… Conférences de Jean-Paul Fargier (sur Paik et
Viola), Marc Mercier (sur la poésie électronique), Samuel Bester (sur
le naturel et l'artificiel), Julien Blaine (sur le corps et le poème
déclamé), Pascal Lièvre (sur le pop et le politique), Natacha Muslera
(sur la performance et la voix)…
Programmations internationales (Palestine, Liban, Syrie, Iran, Egypte,
Tunisie, Algérie, Emirats Arabes, Chine, Corée, Japon, Kosovo, Serbie,
Brésil, USA, Canada, France, Irlande, Allemagne, Angleterre…

Marseille : 24 mai
Fête de la Belle de Mai
Les Instants Vidéo et Lieux Fictifs présentent « L'Atelier du
spectateur : Ce qui nous réunit, ce qui nous sépare ». Programmation
réalisée avec des détenus des Baumettes et retransmission du débat qui
eut lieu en novembre 2008 au CRDP (21e Instants Vidéo).
Et en juin, nous ferons route vers le Viet-Nam (Nha Thrang)… On vous
en dira plus le moment venu…
Pour les inscriptions aux 22es Instants Vidéo de novembre, envoyez vos
propositions d'ici fin juin. Les fiches d'inscription sont sur notre
site.
à bientôt

Instants Vidéo Numériques et poétiques
Friche la Belle de Mai
13331 Marseille Cedex 3
France
Tel administration : 04 95 04 96 24
Tel Marc Mercier  :  06 64 16 96 30
www.instantsvideo.com <http://www.instantsvideo.com>

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[Yasmin_announcements] new moderators

Dear Yasmin colleagues,

Nina Czegledy and I have taken over as moderators for the next week.

Ricardo Mbarkho is finishing the Body Politic discussion for April. Right
now we dont have a discussion topic for May, but in June we will have
the Artists and Atoms; Fission And Fusion discussion.

If anyone wants to propose to moderate a topic in the next twelve months
please drop me an email at rmalina@prontomail.com


reminders:

please if you join the list= send us a brief email introducing yourself
and your location and interests

we give priority to announcements related to the mediterranean region
on the announcement list

if you are having trouble unsubscribing to the list or other problems
contact: "Yasmin Tech" <tech.yasmin@gmail.com>

roger malina
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Re: [Yasmin_discussions] Yasmin_discussions: 140 characters in search of Art

Ricardo Mbarkho: "With the realm of the Information and Communication techno-sphere, assembled entities are emerging: human identities, social behaviors, languages, devices …Giving this vibrant environment, what are the art requirements and needs to enhance creativity and innovation?"
 
I'm hoping that Art with a capital 'A' will soon realize its own irrelevance and creep off to some unwired corner and die a timely death. I think the revolution in communication that is going on as a result of online social networking is far in advance of anything even the latest in traditional Art can offer. For me Art has irrevocably dated itself. Obviously I'm going to have to try and explain what I mean by this.
 Five days ago I had to defend the use of an exclamation mark in an essay called Regarding the South…from the South for the catalogue of an art exhibit in Toronto that opens in May called South-South: Interruptions and Encounter (Justine Barnicke Gallery, U of T). The copy-editor who challenged my desire to exclaim was no doubt a Northern soul; Or a Southern one resident in the cold for too long. Who knows? I replied testily denying him/her the right to remove it. This morning I was delighted to find that someone completely unrelated to this discussion/dispute had tweeted the following link: http://www.guardian.co.uk/books/2009/apr/29/exclamation-mark-punctuation.
The article titled The joy of exclamation marks!  was by Stuart Jeffries of The (UK) Guardian and appeared today, Wednesday 29 April . It talks about the renaissance the exclamation mark is having in the internet age. Delightedly I tweeted and updated my status on Facebook saying: bullet! bullet! bullet! barely a week ago i had to defend my use of an exclamation mark to a Northern editor in an essay called Regarding the South...from the South. What better ammo could i have asked for than this!
The joy of exclamation marks!  chronicles the trajectory of this punctuation device and searches for reasons for its current resurgence. It concludes that technological advances have enabled new modes of communication that celebrate brevity and creative manipulation of 140 characters for instance. In pruning communication down to the bare essentials devices the tone of what was being said became inscrutable and prone to misinterpretation. Brevity could be interpreted as terseness or indifference when that was not the case and the use of the humble exclamation mark could rectify this by communicating enthusiasm, friendliness and warmth. It is an economical device but a fundamentally friendly one except when used ironically or sarcastically.
The article contrasts the brevity of postmodern communication with the terse telegram of yesteryear, a mode of communication used to transmit information urgently without regard to its affect. It relates the following hilarious story about French writer Victor Hugo who once sent a telegram to his publisher. "He wanted to know how his new book was doing. His telegram read: "?"; the publisher's reply: "!". The exclamation mark, you see, meant Hugo's book was doing well. The publisher could have deployed sentences of Proustian length to explain the novel's success among the target demographic of 18- to 35-year-old Parisians, but he saved a few centimes by cutting to the chase."
So to cut to the chase perhaps one of the new demands we should make of Art, if we still want it around, is that it deploy maximum creativity with the bare essentials, which is what most people in the world have to work with. RIP Art!

Annie Paul
http://anniepaulactivevoice.blogspot.com/


 



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Re: [Yasmin_discussions] NEW MEDIA: USER'S BEHAVIOUR, SOCIAL SYSTEMS, AND THE BODY POLITIC

Dear Yasminers,
 
The discussion on
NEW MEDIA: USER'S BEHAVIOUR, SOCIAL SYSTEMS, AND THE BODY POLITIC
will end in April 30, 2009.
 
I thank all the Respondents and Participants who wrote and followed the discussion...
 
 
Till soon,
Ricardo Mbarkho


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[Yasmin_announcements] Infectious in Dublin: Stay Away

Strangely in tune with the current global panic...

http://www.sciencegallery.com/infectious

INFECTIOUS: STAY AWAY

INFECTIOUS EXHIBITION Tuesday - Friday 12:00-20:00 and Saturday -
Sunday 12:00-18:00 Admission Free.

Artists and scientists participating in INFECTIOUS:

Bacteriology Illustrated - Susie Freeman and Dr Liz Lee - a corseted
dress made from fragments of a book illustrating the armoury we employ
to defend ourselves against infection.

Contagious Creativity - Alo Allik, Annika Koski and Simon Jermyn - an
artistic experiment exposing three forms of creation to produce a
mutating artwork.

Cybernetic Bacteria 2.0 - Anna Dumitiriu, Dr Simon Park, Dr Blay
Whitby, Tom Keene and Lorenzo Greenspan - chemical communication of
bacteria and our digital networks combine in this piece to generate a
brand new artificial life-form.

Epidemic Planet - Vittoria Colizza, Wouter Van den Broeck, D. Balcan,
B Goncalves, H. Hu J.J. Ramasco, A Vespignani - explore how high-speed
air-travel whisks new strains of influenza around the globe.

Fugue - Gordana Novakovic, Rainer Linz, Dr Peter Bentley, Anthony Ruto
and Richard Newcombe - this work reflects the changes and responses
occurring in the human immune system expressed through images and
sound.

Glass Viruses - Luke Jerram - these transparent sculptures challenge
our received notions of media images of coloured viruses asking if
these images are designed to instill fear.

Horde - David Bickley, Tom Green, Dr John Mac Sharry - an audio visual
installation representing the workings of the immune system in the
style of an epic Irish myth.

Kiss Culture - Maria Phelan - kiss the agar plate and leave more than
the imprint of your lips behind to cultivate and contribute to a
growing wall of kisses.

SocioPatterns - Ciro Cattuto and Wouter Van den Broeck - find out how
network scientists are using radio frequency tagging to understand the
pattern of human interaction.

Stigmatised - Karl Grimes - exploring how visual representations
inform our knowledge, inner fears and aversion to illness.


-----------------------------------------------------------------------------------------------------------------------

17:04:09-17:07:09 - 12:00-20:00 Tuesday-Friday and 12:00-18:00 Saturday-Sunday

Please note that the containment zone is inaccessible on MONDAYS.

For groups of over 10 people please contact info@sciencegallery.com in
advance.

ARE YOU INFECTED?

THE INFECTION IS TAKING HOLD. Nearly 9,000 individuals have already
been exposed to the infectious exhibition in the Science Gallery. If
you are brave enough to enter the containment zone on Pearse Street
you are advised to wear protective clothing. As soon as you enter the
gallery you will be screened for what you might be carrying and will
be electronically tagged to monitor your state of infection. Whether
you are addicted to brands, obsessed with an idea, coming out with a
strange rash or just can't get that catchy jingle out of your head,
you might be infected.

INFECTIOUS is a major new exhibition exploring mechanisms of contagion
and strategies of containment through science and art including a live
epidemic simulation, an opportunity to have your DNA swabbed from your
cheek and analysed and to get up close and intimate with a Petri dish
as you cultivate the bacteria from your lips in our Kiss Culture
experiment.

INFECTIOUS opened with a three-day long festival of events, talks and
performances, including the launch of the INFECTIOUS viral competition
with www.buzzfeed.com/infectious - launched by Jonah Peretti of
Buzzfeed and Ze Frank.

A panel discussion on INFECTIOUS IDEAS on Saturday April 18 was hosted
by New Yorker writer and Pulitzer prize finalist Lawrence Weschler and
involved leading immunologist Luke O'Neill and explored where we can
apply models of contagious diseases to other areas of culture, ranging
from viral marketing to financial panics.

Keep an eye out for other infectious events on the schedule available here.

INFECTIOUS was released on April 17th and will hopefully be
decontaminated by July 17th.

INFECTIOUS is supported by the Wellcome Trust, and curated by Luke
O'Neill, Cliona O'Farrelly and Michael John Gorman.

Please note that INFECTIOUS is not suitable for visitors under 15 years of age.

Looking for your IMMUNE LAB results? These are currently being
analysed and the results will be available on this site when they
become available. Please keep an eye on this page for further details.
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Tuesday, April 28, 2009

Re: [Yasmin_announcements] GREEN PLATFORM, art, ecology and sustainability

Alessandro, hi, we would very much like to profile this on our website - www.rsaartsandeclogy.org.uk

All additional information WELCOMED!

It's fantastic that you are doing this exhibition.

Sending very best, Michaela


Michaela Crimmin
Head of Arts
RSA, 8 John Adam Street
London WC2N 6EZ
+44 (0)20 7451 6869
www.theRSA.org
www.RSAartsandecology.org.uk


-----Original Message-----
From: yasmin_announcements-bounces@estia.media.uoa.gr [mailto:yasmin_announcements-bounces@estia.media.uoa.gr] On Behalf Of Alessandro Ludovico
Sent: Tuesday, 21 April 2009 10:20
To: yasmin_announcements@estia.media.uoa.gr
Subject: [Yasmin_announcements] GREEN PLATFORM, art,ecology and sustainability

GREEN PLATFORM
art, ecology and sustainability

http://www.strozzina.org/greenplatform/e_index.php

The Centre for Contemporary Culture Strozzina
(CCCS), at the Palazzo Strozzi, Florence, Italy,
will present from 24 April 2009 to 19 July 2009 :

GREEN PLATFORM - Art Ecology Sustainability,
curated by Valentina Gensini and Lorenzo Giusti.

the exhibition will present a series of works by
international artists who address these issues in
a number of very different ways.

The artists whose work will be on display are
Alterazioni Video, Amy Balkin, Andrea Caretto and
Raffaella Spagna, Michele Dantini, Ettore Favini,
Futurefarmers, Tue Greenfort, Henrik Håkansson,
Katie Holten, Dave Hullfish Bailey, Christiane
Löhr, Dacia Manto, Lucy and Jorge Orta, Julian
Rosefeldt, Carlotta Ruggieri, Superflex, Nicola
Toffolini and Nikola Uzunowski. Between them
they will address the issue of the environment in
the dual sense of a crisis in our
thermo-industrial society based on non-renewable
sources of energy and of an ecological crisis
caused by pollution and by the worrying
overheating of our planet.

Green Platform will allow visitors to compare the
artists' different approaches to, and ways of
reflecting on, the problem of ecology which will
be explored not only in terms of an environmental
approach but also analysed and understood through
its myriad philosophical, psychological,
environmental, economic and social implications.

ART, NATURE, LANDSCAPE
Some of the artists focus on investigating and
denouncing existing situations, conduct and
social practices that fail to respect the
ecosystem. Their work highlights the
inconsistency and responsibility of individuals
and of society as a whole, yet without claiming
to indicate any 'right way' to resolve the
problem of the environment. Rather, their work
offers a detached analytical view that questions
tangible elements in the difficult transformation
process currently underway.

ART AND SUSTAINABILITY
Other artists dwell on the theme of virtuous
practices designed to curtail environmental
impact, in an attempt to avoid jeopardising the
chance of future generations to continue to
develop while safeguarding the quality and
quantity of the world's natural reserves and
heritage. These artists' works are formed with
natural, perishable and recycled materials or are
constructed in accordance with energy-related,
behavioural and structural rationales based on
sustainability.

ECO-ACTIVISM - ECO-CRITICISM
Finally there are artists who resort to
programmed or relational practices, interacting
with the public sphere and proposing not just a
virtuous approach in their artistic output but
fully-fledged alternative strategies for
development. 'Eco-active' artists make the best
possible use of the varied vocabulary of art to
fight a concrete environmental battle. Their
work simultaneously covers the ground of both
artistic practice and political activism.

Designed not only as an exhibition but as a
composite platform, Green Platform will offer a
variety of different experiences, open to
visitors and the community alike, with a series
of workshops run by artists, environmental
activists and NGO members, a calendar of lectures
by experts hailing from several different
disciplines and working environments, as well as
a programme of videos and documentaries on
environmental issues.

The exhibition catalogue, with articles by
international authors from a whole range of
different disciplines and cultural backgrounds
(from the economy to architecture, and from the
social sciences to public-sector art), is a
perfect tool for prompting reflection and debate
on a new concept in art and on the opportunity to
foster the new and 'sustainable' development of
that art.


Location: Centre for Contemporary Culture
Strozzina (CCCS), 50123 Firenze, Italy

Public Information: Tel. +39 055 2645155, http://www.palazzostrozzi.org

Opening hours: Tuesday to Sunday 10.00 to 20.00,
Thursday 10.00 to 23.00, Monday closed

Tickets: ¤5.00 multiple entry (up to five
times in one month, including lectures)
¤4.00 (schools)

Access: Lifts and wheelchair access to all areas.

--


Alessandro Ludovico
Neural Magazine - English (http://neural.it/)
Italian (http://www.neural.it/neural_it/)
Latest Printed Issue - http://www.neural.it/art/2009/04/post_3.phtml
Subscribe - http://www.neural.it/subscribe.phtml

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This email has been scanned for RSA by Messagelabs.
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The RSA combines thought leadership with social innovation to further human progress. Building on our 250 year history as a beacon for enlightenment values, we undertake influential and varied research projects and host the UK's most ambitious free lecture series. Our work is supported by 27,000 Fellows, an international network of influencers and innovators from every field and background.

To find out more visit our website here - http://www.theRSA.org

Registered as a charity in England and Wales no. 212424 and in Scotland no. SC037784

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[Yasmin_announcements] L.E.V. FESTIVAL, 1st and 2nd of May

L.E.V. (or Laboratorio de Electrónica Visual – Visual Electronics
Laboratory), is the space in which electronic music and visual and
performing arts join as a way of artistic expression aiming at
introducing the audience to a selection of the most interesting local
and international creators - the new talent as well as established artists.

On its third edition, the festival returns to Laboral Ciudad de la
Cultura during May 1st and 2nd 2009. It is designed and conceived by the
asturiano collective Datatrón 0x3F, co-produced by Teatro de la Laboral
together with Laboral Art and Industrial Creation Centre as its main
sponsor.

The first edition had outstanding artistic proposals such as the
audio-visual live sets by Plaid & Bob Jaroc, Alexander Hacke & Danielle
de Picciotto, Ryoichi Kurokawa or Rechenzentrum, live sets by Mouse on
Mars, Bugge Wesseltoft or Apparat and new talent tokens such as Lego my
Ego, Fuss! or .tape. L.E.V. 08 meant the project's consolidation thanks
to proposals such as Kindertotenlieder by Gisèle Vienne, KTL and Dennis
Cooper, Siren by Ray Lee or live performances by M83, Frank
Bretschneider, The Black Dog, Monolake & Deadbeat and Clark, among others.

Aphex Twin returns to Spain after many years without coming over to our
country and he's doing it to show us his latest laptop performance in
L.E.V. 09. Considered as one of the most important and influential
personalities in electronic music, having been surrounded by numerous
legends, with thorough precision in his control of old synths and
creation of new sounds and gifted with one of the most restless and
creative minds in the music scene, today Aphex Twin is still creating
landmarks in the boundaries of the approved music rules.

L.E.V.'s third edition's programme will hold other extremely interesting
works such as Moderat's (Modeselektor + Apparat's joint project with the
visual artists Pfadfinderei) audio-visual live set, who after releasing
a long-waited for album in March on Bptich Control, will offer a select
series of sets on special occasions. L.E.V. will also hold Peter
Greenaway's Tulse Luper Vj Performance or live sets by Isolée, Nathan
Fake, Alva Noto and Byetone. This edition will also have the portuguese
coreographer Rui Horta's latest work together with the band Micro Audio
Waves, live sets by Daedelus, AGF, Kelpe or Kettel, Loss-Layers'
performance, a creation by Fabrice Planquette and A.lter S.essio or
Black out by João Samões, as well as Electric Girl, the new project by
Apostolia Papadamaki from Greece with live music by Blaine Reininger
(from Tuxedomoon).

The Laboratorio de Electrónica Visual (Visual Electronics Laboratory)
will share its activities between five amazing spaces: Laboral's
Theatre, LABoral Art and Industrial Creation Center, the Church and
Asturias' Drama Art School.

Tickets:
2 days ticket (presale only): 40 euro
Ticket Friday 1st: 20 euro (presale) / 23 euro (at doors)
Ticket Saturday 2nd: 27 euro (presale) / 30 euro (at doors)

Please, visit http://www.levfestival.com to know the complete line-up
and day activities as workshops, meetings, scenic activities...

Artistas confirmados L.E.V. 09:

Aphex Twin laptop performance [Warp Records, UK]
Moderat: Modeselektor & Apparat & Pfadfinderei [Bpitch Control, DE]
Peter Greenaway Tulse Luper Vj Performance [UK]
Isolée [Playhouse, DE]
Nathan Fake [Border Community, UK]
Alva Noto [Raster-Noton, DE]
Byetone [Raster-Noton, DE]
Rui Horta y Micro Audio Waves Zoetrope [PT]
AGF [AGF Produktion, DE]
Daedelus [Ninja Tune, USA]
A.lter S.essio | Fabrice Planquette Loss Layers [FR]
Kettel [Sending Orbs, NL]
Eedl [Spa.RK, ES]
Kelpe [D.C. Recordings, UK]
It_boy [Audiovisual Theorem, ES]
Bacanal Intruder [ES]
Quasi Stellar | Apostolia Papadamaki Electric Girl [GR]
João Samões Blackout [PT]
Juan Rayos [ES]
Normaa. [ES]
.tape. [ES]
Fasenuova [Ozonokids, ES]


http://www.levfestival.com
http://www.teatrodelalaboral.com
http://www.laboralcentrodearte.org
http://www.myspace.com/levfestival


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Monday, April 27, 2009

[Yasmin_announcements] [ l'ull cec ] taller: circuit-bending amb Juan Matos Capote (8, 9 i 10 de maig a Hangar)

[ reenvieu a discreció | reenviad a discreción | forward at own discretion ]

--------------------------------------------

TALLER CIRCUIT-BENDING amb Juan Matos Capote

divendres / viernes / friday 08.05.2009, 18:00 - 22:00
dissabte / sábado / saturday 09.05.2009, 16:00 - 22:00
diumenge/ domingo/ sunday 10.05.2009, 16:00 - 22:00

lloc: hangar. passatge del marquès de santa isabel, 40. barcelona.
metro poble nou

preu / precio / price: 90 euro (inclou materials / incluye materiales
/ includes materials)

Reserves: abans de divendres, 8 de maig a info@lullcec.org.
Reservas: antes del viernes, 8 de mayo a info@lullcec.org.
sign up: before friday, May 8th at info@lullcec.org

+info: [ http://lullcec.org ] (CAT/EN/SP)

organitza: l'ull cec
amb el suport de: hangar

--------------------------------------------

Circuit-bending és el terme que s'utilitza per denominar un conjunt de
pràctiques de modificació creativa (a base de curtcircuits) d'aparells
electrònics de baix voltatge (joguines, pedals d'efectes, etc.) amb la
finalitat de crear nous instruments musicals i generadors de so.

Els aparells que es modifiquen acostumen a ser reciclats, trobats al
carrer o bé adquirits en botigues de segona mà. Després de la seva
transformació, aquests productes desestimats per la societat
adquireixen una vida nova, aliena a la que podria haver ideat el
fabricant original. Aquests aparells que originalment no havien estat
associats a la producció musical, acaben essent utilitzats com a
instruments en certes formes de la música experimental contemporània.

Per a participar en aquest taller no cal tenir coneixements previs
d'electrònica.

Continguts:

* Història i filosofia de la práctica de circuit-bending
* Circuit-bending sense risc
* Eines necessàries. Tècniques per soldar i taladrar
* Conceptes electrònics bàsics
* Components (resistors, capacitadors, diodes, circuits integrats...)
* Controladors i sensors
* Identificar circuits senzills de modificar
* Interpretar els diagrames dels circuits
* Estratègies per trobar sons interessants en el circuit
* Exemples de modificacions habituals dels circuits

Material:

Els assistents al taller caldrà que portin les joguines o aparells
electrònics a modificar. S'ha de tenir en compte que només es
modificaran aparells de baix voltatge (alimentats amb piles) i es
recomana que aquests siguin antics per tal que els circuits
electrònics siguin més accessibles a possibles modificacions. La
microelectrònica que compon la majoria d'aparells actuals dificulta la
distinció dels components a simple vista i l'actuació sobre aquests.

Es recomana que els assistents portin les eines següents:

* pelacables
* tenalles de punta, estretes
* mandrí
* tornavisos (tipus estrella i plans) de petites dimensions (de joier)
* claus de got que cobreixin dimensions d'1.9 a 0.635 cm
* trepant (tipus dremel)
* llimes
* soldador de punta estreta
* pistola de silicona
* mascareta

Els components electrònics necessaris (resistències, condensadors,
potenciòmetres, etc.) es distribuiran durant el taller.

Idioma: El taller serà impartit en castellà (es garanteix recolzament en anglès)

--------------------------------------------

Juan Matos Capote

Juan Matos Capote és un artista experimental - sonor i visual - de les
Illes Canàries que actualment viu a Barcelona. Va estudiar
circuit-bending amb el pioner de la disciplina Reed Ghazala i
tècniques de deep listening amb la compositora i intèrpret Pauline
Oliveros.

[ http://www.myspace.com/juanmatoscapote ]
[ http://juan-music.blogspot.com/ ]

05.05.2009 ... MoHa [ http://www.myspace.com/themoha ]
a la sala monasterio

26.05.2009 ... Freida Abtan (gira cancel·lada)

06.06.2009 ... Cap Sembrat 5

--------------------------------------------

per subscriure't o esborrar-te d'aquesta newsletter, escriu a:
para suscribirte o borrarte de la lista, escribe a:
to suscribe or unsusbscribe, please write to:

info@lullcec.org

Sunday, April 26, 2009

[Yasmin_announcements] USE YOUR TALENTS TO EXPAND THE GENE POOL

USE YOUR TALENTS TO EXPAND THE GENE POOL

Charles Darwin discovers social networking! Salute the 200th anniversary of Darwin's birth, and the 150th anniversary of The Origin of Species, by sharing your adventurous vision of evolution and mutation in Gene Pool (pool.org.au/genepool).

Gene Pool takes evolution way beyond survival of the fittest, sex and the 'selfish gene', or scientists in lab coats. Cultures and ideas mutate too. Contribute a poem, story, photo or tribute, or perhaps a home movie or mini-documentary, a piece of music or field recording. Use other people's contributions to create your own recombinations, mash-ups, mutations, mixes and musings - or slice, dice and remix gems from the ABC archives - Gene Pool is full of possibilities.

In an ABC first, Gene Pool releases content from the ABC's archives under a Creative Commons licence so it's free for you to download and rework however you wish.

All work submitted to the Gene Pool by 2 October 2009 will be considered by ABC Radio National's All in the Mind and The Night Air program makers for special Gene Pool broadcasts. Audiovisual entries will go in the running to be publicly exhibited in Melbourne in November 2009, as part of ANAT's Super Human: Revolution of the Species suite of events.

Gene Pool's home is Pool (pool.org.au), the ABC's acclaimed creative media space where you can upload, view and share other Pool contributors' work to inspire your own. Evolution and mutation is what Pool is all about - so join in and be part of the creative (r)evolution!

A joint initiative of Pool, ABC Radio National, Australian Network for Art and Technology (ANAT), RMIT and Evolution: The Festival.

For further information, please contact Nicola Fern, ABC Radio National on 03 9626 1758 or fern.nicola@abc.net.au.
___________________________________________________________________

ANAT is assisted by the Australian Government through the Australia Council http://www.ozco.gov.au its arts funding and advisory body, by the South Australian Government through Arts SA http://www.arts.sa.gov.au and the Visual Arts and Craft Strategy, an initiative of the Australian, State and Territory Governments.

If you would like to change your contact details or be added or removed from this list please email anat@anat.org.au with 'Unsubscribe' in the subject line.


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[Yasmin_announcements] Computer Baroque online exhibition

Computer Baroque
defining works in the history of digital moving image - an online
exhibition curated by Richard Wright

animateprojects.org

until 14 July 2009.


Computer Baroque is an exhibition of films by pioneers of computer
animation: Karl Sims, Yoichiro Kawaguchi, William Latham, Beriou, John
Tonkin, Chris Landreth, Peter Callas, Simon Biggs, Ruth Lingford, James
Duesing, Paul Garrin, Shelley Lake, The Butler Brothers and Jason White &
Richard Wright.


Rarely seen, they represent a period – the late 1980s and early 1990s - in
which computer animation was the focus for the most audacious and exuberant
experiments across all areas of new media, art and technology. The films
range from earlier works by Karl Sims and William Latham influenced by
scientific ideas, to the more ironic and satirical works by Shelley Lake and
the Butler Brothers.

The films are accompanied by programme notes and an essay by curator Richard
Wright.

Why characterise this period as "Baroque"? I think it was the sense that by
the late 1980s we had reached a stage where the power of computers could
finally be harnessed by more than a handful of insiders. Artists wanted to
push the computer as far as it would go, to create visual transformations
that defied previous traditions, to blend image and music and text, to apply
scientific ideas as new sources of inspiration. It created a strident kind
of image that insisted on the fact of its own realisation, fleeting paeans
to the artificial. Yet equally present was a nagging anxiety, that this
artifice heralded a world of totalizing control, paranoia and catastrophe.
Richard Wright


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[Yasmin_announcements] art and solar energy

>From Leonardo Co editor Jürgen Claus
Roger Malina

DIE SONNE UND WIR
MIT SOLAR-SKULPTUREN LEBEN Jürgen Claus
WE AND THE SUN
LIVING WITH SOLAR SCULPTURES
Edition RaumSolar München 2009
ISBN 978-3-00-024586-2
Preis: ! 59,-- (Buchhandelsrabatt/discount: 40%)
Die vom Künstler selbst gestaltete deutsch- und englischsprachigen
Buchbroschüre im
Format 29,3 x 17 cm, gedruckt auf 160-Gramm-Papier, im Umfang von 56
Seiten, erschien
2009 in einer fortlaufend numerierten, signierten Sonder-Edition. Sie
beinhaltet 70 Farb- und
16 Schwarzweiß-Abbildungen, sowie 5 Künstler-Computergrafiken. The
size of the booklet
which had been designed by the artist is 29,3x17 cm. There are 56
pages, with 70 colour, 16
b/w pictures and 5 computer graphics. Every booklet is numbered
and signed by the artist. Jürgen Claus became well known for his
solar sculptures and his broad commitment for a solar culture.
Jeder Buchbroschüre ist ein farbiger SOLAR POWER Rechner
inklusive Metermaß in der Größe 11x8 cm beigefügt. Beide liegen
in einer transparenten Eckspann-Mappe 32x23 cm. Diese wurde
vom Künstler mit einem Sonnenmotiv bemalt und signiert. Every
booklet comes together with a SOLAR POWER Calculator in a 3
Flap Folder 32x23 cm which is individually designed by the artist.
Neben einer Einführung werden in drei Abschnitten die
Arbeitsfelder „SOLARE ÄSTHETIK", „SOLARE UMWELT", „SONNEN-KUNST" mit teilweise
bislang unveröffentlichten sowie mit publizierten aber schwer
erreichbaren Texten
dokumentiert. Die gleiche Gliederung gilt für die englischsprachigen
Texte. The booklet is
divided in three parts. Following an Introduction: „SOLAR AESTHETICS", „SOLAR
ENVIRONMENTS", „SUN ART". Es ergibt sich ein Zeitzeugnis, in dem
solare Kunst, solare
Architektur, solares Design und solare Forschung auf dem Weg von der
Vision, vom Entwurf
zur Realisation auftreten.
Bestellungen / order: Centre Overoth, Overoth 5, 4837 Baelen, BELGIUM oder/or:
RaumSolar, Lachnerstr. 3, 80639 München, GERMANY Tel. 0176-24 62 11 01
by E-mail: jurclaus@euregio.net; noraclaus@euregio.net;
Edition RaumSolar München ©Jürgen Claus 2009 www.juergenclaus.de
ISBN 978-3-00-024586-2

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[Yasmin_announcements] alger artists

Dear MedArtists,
We are pleased to invite you to the exhibition of students of National
School of fine Arts of ALGER on Second Life, directed by me and the
artist Myriam Hammani at 6 AM SLT (15h Paris Time)
The group Second front will participate in this project by a virtual
performance at 8 AM SLT ( 17h Paris Time)
http://www.patricklichty.com/bn.html
http://slurl.com/secondlife/Isles%20Marquises/133/118/2
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Saturday, April 25, 2009

Re: [Yasmin_discussions] Assembled Entities and Art Requirements

Hi Tereza and all,
 
The 3 contradictions you pointed at, remind me something I was told about in Tunisia. In a lecture I gave in 2003 about the "Place of the new technologies in the conception process of the art piece" I emphasized on the necessity to liberate all the prisoners of opinion. http://www.ricardombarkho.com/html/en/Conferences_et_Ateliers/Colloque_Sousse_2003_en.htm
 
After the panel, I chatted with some Tunisian people who told me that if the Tunisian Government liberates the prisoners of opinion, this means that the religious Radical ideas will be unleashed and that this is a big potential danger for the stability and the security of Tunisia at least…
 
 
I think that with or without the Net, the 3 contradictions you mentioned are already running. To simplify, I can compare the issue with the Real Life:
-           The criminality on the net is also as criminality offline
-           The "license culture" is like things that happen within totalitarian regimes
-           The "Internet for everyone" is like democracy-like structures
 
A totalitarian regime is controlling the population in a non-democratic way to avoid terrorism. On the other hand, the democracy is opening gates for everyone to express themselves; hence the terrorism is finding safe ground to act.
 
If we are for totalitarian regimes, then we are against democracy, but safe from terrorism. If we are with democracy, then we are against fascism but always in potential danger of the injustice.
 
The politic today needs to construct a 3rd discourse that is able to cope with these contradictions. I tend to say that criminals deal with offline and online spaces only as ground for action, rather than as catalysts that motivate their acts. The source of the problem lies elsewhere…
 
 
Ricardo


________________________________
From: "Wagner, Teresa" <T.Wagner@unesco.org>
To: YASMIN DISCUSSIONS <yasmin_discussions@estia.media.uoa.gr>
Cc: Fatima Lasay <digiteer@ispx.com.ph>
Sent: Thursday, April 23, 2009 5:58:06 PM
Subject: Re: [Yasmin_discussions] Assembled Entities and Art Requirements

Dear Ricardo and all,

This is an attempt to contribute to this discussion. To do so I would like to take one example that comes from artist and researcher Fatima Lasay, is well know by many of us.

I will be addressing only one part of your last question and will be stuck to "social behaviours'". I will be looking at the shortcomings in the Information and Communication techno-sphere which limit the expansion of social behaviours when it comes to education, creativity and information. 

The example that I will be using here is Fatima's circular message on: "ISOC-Philippines statement on the jail sentence for The Pirate Bay founders and the criminal charges against philosophy professor Horacio Potel By isoc-ph, on April 20, 2009, 2:05 am <http://isoc.ph/portal/2009/04/isoc-philippines-statement-on-pirate-bay-and-potel/>http://isoc.ph/portal/2009/04/isoc-philippines-statement-on-pirate-bay-and-potel/ "(Please find Fatima's entire statement at the end of my message)

In her statement Fatima underscores the contradiction between a fundamental belief put forward by ISOC: "The Internet is for everyone" and "recent developments demonstrate an alarming growth towards a "license culture" on the Internet, imposed by the criminalization of those whose culture and society advance creativity, innovation and economic opportunity through the values of openness, sharing, education and collaboration"


In the one hand "Internet makes a powerful tool for sharing, education, and collaboration. It has enabled the global open source community to develop and enhance many of the key components of the Internet, such as the Domain Name System and the World-Wide Web, and has made the vision of digital libraries a reality."

In the other she underpins that "excessively restrictive governmental or private controls on computer hardware or software, telecommunications infrastructure, or Internet content (...) (are) restrictions (that) substantially diminish the social, political, and economic benefits of the Internet".

However, criminality does exist in a huge extent in the internet as it was mentioned earlier in our discussion. Therefore taking into consideration the above, there is a third contradiction to be added to the two which Fatima has referred to; this is criminality through the Net. The question which is now before us is: How artists cope with these three levels of contradictions?

As a general comment, one can say that artists do not utilize internet as intensively as other non-artists professional users do. One of the reasons might be that artists are not yet opened to cope with systems in their work. Another reason might be that not all artists use internet tools in their work and (I insist) they don't use it to communicate with other artists for artistic purposes. The third reason might also be that artists feel that there is too much control (or not sufficient control!) over internet... In this framework, it might be interesting for artists to suggest governments to considerer the specificity of their needs in connection to internet use. 

To conclude I still wondering whether new technologies and internet have really already changed our social behaviours. My feeling is that real change is still to come.
Is there any way artists can help in preparing this change?

TW

Fatima's statement:
The Internet Society Philippines' (ISOC-PH) Public Policy Principles and activities are based upon a fundamental belief that "The Internet is for everyone." ISOC-PH upholds and defends core values that allow people throughout the world to enjoy the benefits of the Internet.

Recent developments, however, demonstrate an alarming growth towards a "license culture" on the Internet, imposed by the criminalization of those whose culture and society advance creativity, innovation and economic opportunity through the values of openness, sharing, education and collaboration.

Philosophy professor Horacio Potel from Argentina is facing criminal charges for maintaining a personal and educational website devoted to Spanish translations of works by French philosopher Jacques Derrida.

A court in Sweden has found the four men behind "The Pirate Bay", a file-sharing website, guilty of breaking copyright law and were sentenced to a year in jail and ordered to pay $4.5m (£3m) in damages.

The Ability to Share is one of ISOC's core values. The many-to-many architecture of the Internet makes it a powerful tool for sharing, education, and collaboration. It has enabled the global open source community to develop and enhance many of the key components of the Internet, such as the Domain Name System and the World-Wide Web, and has made the vision of digital libraries a reality. To preserve these benefits we will oppose technologies and legislation that would inhibit the freedom to develop and use open source software or limit the well-established concept of fair use, which is essential to scholarship, education, and collaboration.

We will also oppose excessively restrictive governmental or private controls on computer hardware or software, telecommunications infrastructure, or Internet content. Such controls and restrictions substantially diminish the social, political, and economic benefits of the Internet.

The wire-tapping, searches and seizures, the removal of website content and the criminal charges against professor Potel of the University of Buenos Aires is an onslaught on human rights and academic freedom in Argentina and on the Internet.

The police seizures of servers, the enormous bill for damages and the jail sentence on Frederik Neij, Gottfrid Svartholm Warg, Carl Lundstrom and Peter Sunde is a defiance of the social and cultural institution of file-sharing in Sweden and on the Internet.

ISOC-PH founding member and lawyer Michael Dizon writes, "Putting greater emphasis on the development of social or community norms and how people can actively participate in the creation of these norms ... may be more advantageous in advancing creative culture than resorting to contractual agreements. Ideally, laws (and the licenses that seek to enforce rights based on these laws) should embody and uphold the norms and values of a community, and not the other way around."

As founding president of the newly rejuvenated ISOC-Philippines Chapter, I would like to dispute some of the statements being made regarding the Pirate Bay trials, in particular, by John Kennedy, Chairman and CEO of the International Federation of the Phonographic Industry. Mr Kennedy says,

"This is good news for everyone, in Sweden and internationally, who is making a living or a business from creative activity and who needs to know their rights will protected by law."

In keeping with the ISOC-PH mandate, I find it offensive to the diversity of cultures on the Internet the claim that the global model of copyright protection being imposed upon the developers and users of the Internet is "good news for everyone."

I also find it hard to accept the sincerity of Mr Kennedy's statement about "making a living or a business from creative activity." In fact only a handful of media corporations have effectively taken over what used to be a very diverse field of creative activity.

Such a process of consolidation and privatization has created gross inequality between artists and the big media corporations: relations between artists and recording companies are replete with exploitative contracts and bitter legal struggles for control; and royalties and other earnings from copyright constitute only a fraction of the income of most active professional artists.

The Pirate Bay trials and the criminal charges against professor Potel are a threat to academic freedom and free speech, and they undermine the Internet core value of the Ability to Share. If we envision a future in which people in all parts of the world can use the Internet to improve their quality of life, then freedom, and not a "license culture", must be obtained for professor Potel, the Pirate Bay founders and the Internet communities of sharing.

ISOC-PH calls on all Internet citizens to demand freedom.

Fatima Lasay
President
Internet Society Philippines Chapter
<http://isoc.ph/portal/>http://isoc.ph/portal/

Quezon City, Philippines
April 20, 2009

-----Message d'origine-----
De : yasmin_discussions-bounces@estia.media.uoa.gr [mailto:yasmin_discussions-bounces@estia.media.uoa.gr] De la part de Ricardo Mbarkho
Envoyé : lundi 20 avril 2009 22:53
À : YASMIN DISCUSSIONS
Objet : [Yasmin_discussions] Assembled Entities and Art Requirements

Dear Yasminers,
 
So far in our discussion, the initial questions about our topic were covered in a way or another. We can focus our discussion on the following perspective where the topic converged:
 
With the realm of the Information and Communication techno-sphere, assembled entities are emerging: human identities, social behaviors, languages, devices ... Giving this vibrant environment, what are the art requirements and needs to enhance creativity and innovation?
 
 
Best,
Ricardo Mbarkho


     
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Re: [Yasmin_discussions] NEW MEDIA: USER'S BEHAVIOUR, SOCIAL SYSTEMS, AND THE BODY POLITIC

Annie said: "The death of the author was announced several decades ago, prematurely it seems, for we still cling relentlessly to the idea."

The Biennale de Paris is extrapolating these tracks. From http://www.biennaledeparis.org :
"The Biennale de Paris it's a biennial without exhibition. She identify and support the immaterial art productions. She is open to all and directed to "natural public" in particular. Such things exist with or without the biennial. She affirms invisual art practices, they are inscribed in the real, so that they cannot be distinguished from surroundings."


Ricardo


________________________________
From: "anniepaulish@yahoo.com" <anniepaulish@yahoo.com>
To: yasmin_discussions@estia.media.uoa.gr
Sent: Saturday, April 25, 2009 5:15:02 PM
Subject: Re: [Yasmin_discussions] NEW MEDIA: USER'S BEHAVIOUR, SOCIAL SYSTEMS, AND THE BODY POLITIC

Good morning Yasminers and apologies for having been absent for much of this discussion. Unexpected exigencies were monopolizing all my creative energy and it has been difficult to find the focus necessary to make meaningful contributions to this conversation.

I would like to respond to Veroniki's question about new media and the forms of communication it enables: If so, "who", is sending the "message" to "whom" and for "what purpose"?

There is justifiably much suspicion around new media and whether or not it is merely another tool of capitalism. But we speak as if the traditional media we all depend on so much isn't the consummate vehicle for capitalism it is. TV, print media, radio—all of these bombard us with advertising as the cost for obtaining the information we need to sustain our so-called democracies and our 'livities'.

Certainly in this part of the world new media hasn't been infiltrated by mass advertising yet. And so the internet and particularly social media such as Facebook are facilitating conversations between groups of people who were not talking to each other before. For instance, it is bringing together members of the Jamaican/Caribbean diaspora and people on the ground, so to speak, in conversations that need to happen, relationships that need to develop to pull these countries out of their crises and regenerate the body politic.

The very way politics works is now being affected by the ability of many more citizens/netizens to demand answers, contradict lies, and indicate their preferences clearly and virtually without fear. Just this morning a bunch of us were talking on Facebook to the Opposition Minister of Finance on the budget presentation made yday by his govt counterpart and vigorously challenging his version of things. Another conversation was in response to a radio programme asking if people spend too much time on Fbook: as one person responded "Facebook allows us to say it as it is" and not have to depend on traditional media for a highly censored view of things.

I think art and artworks have to develop out of all this ferment in an organic way. I am not yet aware of any major artwork I can call attention to or cite. Perhaps the artworks are these unprecedented conversations? The German artist Beuys talked about the interaction between people as creating 'social sculptures'. Can we not think about these new conversations as new and necessary forms of 'social sculpture'? And don't we also have to ditch the idea of the artist as sole and individual author? The death of the author was announced several decades ago, prematurely it seems, for we still cling relentlessly to the idea.

Annie Paul
http://anniepaulactivevoice.blogspot.com/


     
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Re: [Yasmin_discussions] NEW MEDIA: USER'S BEHAVIOUR, SOCIAL SYSTEMS, AND THE BODY POLITIC

Good morning Yasminers and apologies for having been absent for much of this discussion. Unexpected exigencies were monopolizing all my creative energy and it has been difficult to find the focus necessary to make meaningful contributions to this conversation.

I would like to respond to Veroniki's question about new media and the forms of communication it enables: If so, "who", is sending the "message" to "whom" and for "what purpose"?

There is justifiably much suspicion around new media and whether or not it is merely another tool of capitalism. But we speak as if the traditional media we all depend on so much isn't the consummate vehicle for capitalism it is. TV, print media, radio—all of these bombard us with advertising as the cost for obtaining the information we need to sustain our so-called democracies and our 'livities'.

Certainly in this part of the world new media hasn't been infiltrated by mass advertising yet. And so the internet and particularly social media such as Facebook are facilitating conversations between groups of people who were not talking to each other before. For instance, it is bringing together members of the Jamaican/Caribbean diaspora and people on the ground, so to speak, in conversations that need to happen, relationships that need to develop to pull these countries out of their crises and regenerate the body politic.

The very way politics works is now being affected by the ability of many more citizens/netizens to demand answers, contradict lies, and indicate their preferences clearly and virtually without fear. Just this morning a bunch of us were talking on Facebook to the Opposition Minister of Finance on the budget presentation made yday by his govt counterpart and vigorously challenging his version of things. Another conversation was in response to a radio programme asking if people spend too much time on Fbook: as one person responded "Facebook allows us to say it as it is" and not have to depend on traditional media for a highly censored view of things.

I think art and artworks have to develop out of all this ferment in an organic way. I am not yet aware of any major artwork I can call attention to or cite. Perhaps the artworks are these unprecedented conversations? The German artist Beuys talked about the interaction between people as creating 'social sculptures'. Can we not think about these new conversations as new and necessary forms of 'social sculpture'? And don't we also have to ditch the idea of the artist as sole and individual author? The death of the author was announced several decades ago, prematurely it seems, for we still cling relentlessly to the idea.

Annie Paul
http://anniepaulactivevoice.blogspot.com/



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Friday, April 24, 2009

Re: [Yasmin_discussions] NEW MEDIA: USER'S BEHAVIOUR, SOCIAL SYSTEMS, AND THE BODY POLITIC

Just a few words about the term «Glocal»:

This a term that has been used now since 5 or 6 years ago to
underline the Global way of thinking and the Local way of acting. We
have used it to designate the Project Glocal Youth and to ilustrate
some interesting examples of local-global media appropriations by
youngsters from different parts of the world:

http://atirateaomar.blogspot.com/2009/04/why-glocal-youth.html

best wishes.
Vítor

Citando robert.thill@gmail.com:

> Dear Greg,
>
> In response to your comment and question:
>
>> I find it strange that we are still talking in such binary terms. Given the
>> interconnectedness of the world at large, these distinctions surely must
>> give way to more useful terms. What are they?
>
> I am not sure how useful this term is but I increasingly see "glocal"
> (global + local) used to describe the intersection.
>
> Best,
>
> Robert Thill
>
>
> On 4/16/09, greg giannis <greg.giannis@vu.edu.au> wrote:
>> Hi,
>> I have been following part (only so many hours in a day!) of the discussion
>> and have found it very interesting.
>> I am an artist and educator in australia. I work in the area of media art
>> and teach in a visual art dept and a multimedia dept.
>>
>> I will answer some of the initial questions raised drawing from my own
>> experiences:
>>
>> Is (new) media a tool which reinforces people's creativity and how it is
>> expressed in terms of social behavior?
>>
>> In many of my classes I introduce media art as a way of showing the range of
>> creative possibilities that have been made possible with new media. This has
>> proven to be very successful as it has inspired many students to think
>> outside of the square when creating work. An example: a class is introduced
>> to the simplest way (that I know) of adding peripheral input devices to a
>> computer. They are then required to create an interactive installation that
>> makes use of a simple input device, other than a mouse or keyboard, for
>> example a pressure pad. The range of projects that resulted from this simple
>> strategy surprised me, and the students were truly engaged in a manner that
>> I had yet to witness. They created unique works, and worked in groups that
>> seldom fell apart.
>>
>> Is new media just a tool or an art form?
>>
>> New media has provided an amazing array of new tools for artists and others
>> to work with. But as an art form, it is a very difficult one to define,
>> constantly in flux and embedded with the technologies that dominate our
>> cultures.
>>
>> How are democracy and social connectivity via new media related?
>>
>> My current project "peripato telematikos" <http://www.peripato.net> uses
>> mobile phones, the internet, walking strategies, and a custom web interface
>> to create collective and individual subjective mappings. The project has
>> been run in a number of workshops where participation and interest was
>> strong. Comments from the participants indicated that the whole process was
>> an empowering one for them. Technologies were demystified and made to appear
>> more accessible. The use of the mobile phone in these types of works, is
>> often an attempt to increase access to the creation of works through the use
>> of a highly ubiquitous device. Furthermore, through the creation of these
>> works social connectivity increased although this was not an original
>> intent; it just happened as a consequence of the way the projects have been
>> run. A paper outlining this project can be found here:
>> http://www.peripato.net/texts/paper.pdf
>>
>> Are global and local systems two separate entities, or is it about one
>> place?
>>
>> I find it strange that we are still talking in such binary terms. Given the
>> interconnectedness of the world at large, these distinctions surely must
>> give way to more useful terms. What are they?
>>
>> Thanks
>> Greg Giannis [giannis.greg@gmail.com]
>>
>> _______________________________________________
>> Yasmin_discussions mailing list
>> Yasmin_discussions@estia.media.uoa.gr
>> http://estia.media.uoa.gr/mailman/listinfo/yasmin_discussions
>>
>> Yasmin URL: http://www.media.uoa.gr/yasmin
>>
>> HOW TO SUBSCRIBE: click on the link to the list you wish to subscribe to. In
>> the page that will appear ("info page"), enter e-mail address, name, and
>> password in the fields found further down the page.
>>
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>> e-mail address in the last field. Enter password if asked. Click on the
>> unsubscribe button on the page that will appear ("options page").
>>
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>> Digest Mode" option and set it to either on or off.
>>
> _______________________________________________
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>
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>
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>

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