Tuesday, May 31, 2011

[Yasmin_discussions] Introducing myself, a new subscriber

Hello,

Thank you to the list maintainers, volunteers, and moderators for
creating this list and for allowing me to participate.

Originally from Israel, I now live California, but I like to remain in
contact with and involved in events in the entire Mediterranean rim. I
have been fortunate to have been invited to create and run workshops at
the LIFT conference in Marsaille (and Geneva) and Kinnernet in Israel.

I am an artist and teacher working in the area of Kinetic and
Interactive art, sometimes also called Physical Computing or Interactive
Art. I have a strong background in electronics and teach a lot of
Electronics and Electromechinical techniques to artists and other
designers, experimenters, and tinkerers.

I am especially interested in collaborative art and technology projects
which allow us to bring people together. I collaborate on many projects
in California, but have not yet had the pleasure of doing so in the MENA
countries.

My biography is at
michaelshiloh.wordpress.com

and my teaching websites include

www.teachmetomake.com
teachmetomake.wordpress.com

If any of you have further questions please don't hesitate to ask, and I
look forward to good conversations and hopefully meeting some of you in
the future,

Sincerely,
Michael Shiloh
--
Michael Shiloh
KA6RCQ
www.teachmetomake.com
teachmetomake.wordpress.com
Interested in classes? Join http://groups.google.com/group/teach-me-to-make
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Re: [Yasmin_discussions] Boundaries

Hello Janelle,

first my apologies I am jumping in this discussion and happen to read
this post.

Your experiment caught my eye. 'just trow people away from an agenda'
is this possible

you have done this ? have you documented it?

Soundwalking reminds me of this process and sometimes have a
discussion where sound merges into text, which merge into sound or
visual after

Jacky

"The house represents what we ourselves would like to be on earth:
permanent, rooted, here for eternity.
But a camp represents the true reality of things: we're just passing
through."
By Roger Deakin from Wildwood A journey through trees


On 30-May-11, at 3:07 PM, Janelle Cugley wrote:

> May I suggest an experiment, 100 artists 100 others walking the
> city together and just watch what layers emerge.. capture the
> dialogue with recordings through visual and auditory text. And just
> to" throw "people away from an agenda that they or an organization
> may perhaps work toward. Ask them simply to look at three elements
> that are design and arts related and most others can associate
> with.. colour.. pattern.. and texture... what I have found that
> what emerges it a truly rich dialogue and somewhat a palette that
> can generate design and art ideas towards planning new and re vital
> environments. What I found what is a very rich dialogue.. and
> immense fascination and illumination towards new founded ideas
> about environmental emergence. Its a great way to think about
> collaborative planning as its all inclusive and a constructive
> dialogue made through random comment about place accusation which
> includes the visual as text.
>
> Janelle
>
> --------------------------------------------------
> From: "roger malina" <rmalina@alum.mit.edu>
> Sent: Sunday, May 29, 2011 5:56 PM
> To: "YASMIN DISCUSSIONS" <Yasmin_discussions@estia.media.uoa.gr>
> Subject: [Yasmin_discussions] Boundaries
>
>> jeremy
>>
>> the work of Stanza that was just posted to the
>> LEA channel ( http://www.youtube.com/user/LEAbroadcast?
>> feature=uploademail_ch)
>>
>> http://www.youtube.com/watch?v=1ZTyNjyBWMg
>>
>> Sensity involves collected data across the city of London visualized
>> to make art. The whole world is a dynamic real time artwork. The city
>> data space becomes mirrored online and the environment becomes an
>> emergent series generative artworks.
>>
>> This kind of work is proliferating that takes existing large
>> data sets, or artist generated ones, and re inserts them
>> into the city or personal environement via installations
>> or other devices
>>
>> whats not clear to me is whether these kinds of work
>> can really change our behaviours or relationship
>> to the world= to the extenthat they occupy our
>> mediated spaces they can perhaps "re thicken" our
>> connection to phenomena that we only have
>> abstract awareness of) but without embodiment
>> do they remain un=intimate ? that boundary
>> between the virtual and physical is multi layered
>>
>> roger
>> _______________________________________________
>> Yasmin_discussions mailing list
>> Yasmin_discussions@estia.media.uoa.gr
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>>
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>> 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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>> enter your 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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>> "Set Digest Mode" option and set it to either on or off.
>
>
>
>>
>> Internal Virus Database is out of date.
>> Checked by AVG - www.avg.com
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>
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Monday, May 30, 2011

[Yasmin_discussions] art and science and their constitutions

yasminers

for those of you who prefer to chat on linkedin we have started the
art and science
constitution discussion

http://www.linkedin.com/groups?mostPopular=&gid=1636727
on the art science collaboration group on linked in

here is a comment from george sudduth on the linked in discussion

roger


This sounds interesting. I read just today about about how in
education, art has been more or less been left out in relationship to
K - 12 curricula nationwide and should be placed back in. 'Should be
placed back in' curricula; seems like to me that we have local, state
and national governments to thank for the 'state of the arts.' Go back
to artists like Mapplethorpe and Serrano supported by the NEA and then
ridiculed by the likes of Jesse Helms to the point where that agency
now is nothing more than a shadow of itself.
Art Agency Constitution? What would the preamble be?

"We the Artists of today and tomorrow put forth from this day forward
the act of creativity and freedom of expression as guaranteed by our
forefathers for the right to visualize and act in creative measures,
as it provides works of art solely by and for the people to peruse at
their leisure without any prohibitive acclamations as to the nature of
the work, the creators of the work and their right to be creative no
matter what their ethnicity, religious preference, and sexual
orientation."
Posted by George Sudduth
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[Yasmin_discussions] Fwd: Re : Art Agency, and its Constitution :ANNOUNCING YASMIN DISCUSSION

wafa

Thanks for your response from tunisia- indeed in discussing the
questions of the possible " constitutions" of art and science in society
it can be argued as you do that we
need to think of art and science together

A constitution normally includes a pre amble that establishes
basic principles

Some engineering societies for example have an oath of
the engineer

eg http://www.asce.org/uploadedFiles/Leadership_Training_-_New/OBLIGATION.pdf

There are also proposals for oaths for scientists - eg the american
association for advancement of science

http://www.aaas.org/spp/sfrl/projects/oath/oathsummary.htm

Are there similar discussions in the art world of an oath for artists ?

an interesting challenge for an art science constitution would be to
esablish the
shared values that would be implemented in a constitution, and a first step
would be an oath=mind you its not clear the engineering oath has had any
impact-but the discussion it stirs up is vital


roger

wafa what was the role of scientists or engineers in the tunisian revolution ?


---------- Forwarded message ----------
From: wafa bourkhis <wafabourkhis@yahoo.fr>
Date: Sun, May 29, 2011 at 10:43 PM
Subject: [Yasmin_discussions] Re : Art Agency, and its Constitution
:ANNOUNCING YASMIN DISCUSSION
To: YASMIN DISCUSSIONS <yasmin_discussions@estia.media.uoa.gr>


HelloThanks Roger for invitationwhen i saw the announcement about the
two questions, i had one question in my mind: can we separate science
and art in this era?
simple answer :nowhen we say art and its constitution or science we
cannot find the difference between, because since the creation of the
WWW we can't ask these question. The cyberspace can gather scientists
and artists in the same constitution of the internet virtual
territories.By the creation of Yasmin network, art is very related to
science in this mediterranean of the internet network
that was made by scientists...  So there is no boundaries between
artists and scientists in the two borders of real mediterranean
basin...These virtual territories can present only one constitution
for the two : art and science...To be continuedWafa
--- En date de : Dim 29.5.11, roger malina <rmalina@alum.mit.edu> a écrit :

De: roger malina <rmalina@alum.mit.edu>
Objet: [Yasmin_discussions] Art Agency, and its Constitution
:ANNOUNCING YASMIN DISCUSSION
À: "YASMIN DISCUSSIONS" <Yasmin_discussions@estia.media.uoa.gr>
Date: Dimanche 29 mai 2011, 14h16

Art Agency,and its Constitution .
Science Agency and its Constitution


Moderator
 G. H. Rabbath;Doctor of Philosophy, Human Sciences, and
 Associate Professor at Université Saint-Joseph, Beirut, Lebanon .

This year the Venice Biennial:
 http://www.labiennale.org/en/Home.html
promises to be the most successful ever with a record of national
participation despite the last minute withdrawal of some Middle
 -Eastern countries like Lebanon.  One of the 5 questions that artistic
 director Bice Curriger asked all the participating artists is: "If art were
 a nation, what would its constitution be?"

 The current turn of events in the MENA countries will change the face
 of the region for ever. New media is viewed as the critical factor in
 creating political and social change.

Have new media, and social media reached a critical point
where they can help build a country from the bottom-up, or can they only
topple governements for the moment? What is the
relation with contemporary art practices? Is there still a
possibility for individual agency through new media and
art, and is the Biennial format  the last place to explore new
political models?

In keeping with the YASMIN aim to network artists and
scientists around the Mediterranean, we propose to couple
the discussion to the related question.

Science Agency and its Constitution. "If Science were a Nation,
what would its constitution be?"

Here are some of the web sites :

 Arabstateofmind: http://thestateofmind.be/

http://www.artinfo.com/news/story/37393/resculpting-lebanons-constitution-at-the-venice-biennale-a-qa-with-curator-georges-rabbath/

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Re: [Yasmin_discussions] Boundaries

May I suggest an experiment, 100 artists 100 others walking the city
together and just watch what layers emerge.. capture the dialogue with
recordings through visual and auditory text. And just to" throw "people away
from an agenda that they or an organization may perhaps work toward. Ask
them simply to look at three elements that are design and arts related and
most others can associate with.. colour.. pattern.. and texture... what I
have found that what emerges it a truly rich dialogue and somewhat a palette
that can generate design and art ideas towards planning new and re vital
environments. What I found what is a very rich dialogue.. and immense
fascination and illumination towards new founded ideas about environmental
emergence. Its a great way to think about collaborative planning as its all
inclusive and a constructive dialogue made through random comment about
place accusation which includes the visual as text.

Janelle

--------------------------------------------------
From: "roger malina" <rmalina@alum.mit.edu>
Sent: Sunday, May 29, 2011 5:56 PM
To: "YASMIN DISCUSSIONS" <Yasmin_discussions@estia.media.uoa.gr>
Subject: [Yasmin_discussions] Boundaries

> jeremy
>
> the work of Stanza that was just posted to the
> LEA channel (
> http://www.youtube.com/user/LEAbroadcast?feature=uploademail_ch)
>
> http://www.youtube.com/watch?v=1ZTyNjyBWMg
>
> Sensity involves collected data across the city of London visualized
> to make art. The whole world is a dynamic real time artwork. The city
> data space becomes mirrored online and the environment becomes an
> emergent series generative artworks.
>
> This kind of work is proliferating that takes existing large
> data sets, or artist generated ones, and re inserts them
> into the city or personal environement via installations
> or other devices
>
> whats not clear to me is whether these kinds of work
> can really change our behaviours or relationship
> to the world= to the extenthat they occupy our
> mediated spaces they can perhaps "re thicken" our
> connection to phenomena that we only have
> abstract awareness of) but without embodiment
> do they remain un=intimate ? that boundary
> between the virtual and physical is multi layered
>
> roger
> _______________________________________________
> 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.
> HOW TO UNSUBSCRIBE: on the info page, scroll all the way down and enter
> your e-mail address in the last field. Enter password if asked. Click on
> the unsubscribe button on the page that will appear ("options page").
> HOW TO ENABLE / DISABLE DIGEST MODE: in the options page, find the "Set
> Digest Mode" option and set it to either on or off.

>
> Internal Virus Database is out of date.
> Checked by AVG - www.avg.com
> Version: 8.5.448 / Virus Database: 271.1.1/3187 - Release Date: 10/09/10
> 18:34:00
>
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Sunday, May 29, 2011

Re: [Yasmin_discussions] [Yasmin_an] SYNTH-ETHICS in VIenna / ART & SYNTHETIC BIOLOGY : following up with the discussion

Hi all,
my apologies for the late joining of this discussion.

Having just curated an exhibition around the thematics rather than the
epistemology of Synthetic Biology myself I find the previous posts
very pertinent. The SyNTH_EHTICS show looks great and the
documentation is very clear. My exhibition "LIFE 2.0: artifice to
synthesis" is being held over 3 months at The Royal Instuition of
Australia (RiAus) to go with 3 months programming of Synthetic Biology
policy meetings and symposiums for scientists and range of more
general public events. Like Jens, I put the show together quiet
quickly, and scheduled in highlights from the Biofiction Film Festival
later in the program.

http://riausondemand.org.au/life2

However the context I am curating in is quiet different. the RiAus
mission is "bringing science to people and people to science." More
broadly the aim is to inform and educate on the critical scientific
research being carried out today - so that society in general can
engage in knowledgeable dialogue and reach an opinion as to how our
future is created. RiAus has the only dedicated Art and Science
Gallery in Australia- and a unique remit to be a touchstone for
society; to bring prominent issues to the fore; to not only delight
and entertain, but to challenge and stimulate debate and to present
alternative perspectives on what matters to humanity.

This doesn't mean speaking to just the academic, scientific and art
world - and although they are included as a primary audience - it
means communicating with everyone. And its not illustrative "science
education" either - I dont think those dichotomies work any more -
the context itself is a synthesis of artistic of scientific intent.

Works I've include are as diverse as Deborah Kellys paper collage
animation of very sexy animal/insect hybids who do the dance of love
and then consume each other, documented and conceptual bio-art works
from Daisy Ginsberg, Rich Pell and others, the Life Support series
from Revital Cohen- who rightly insisted that she wouldn't be involved
in the exhibition if it had the term 'Synthetic Biology" in its title.

The part of the show that has captured people from board rooms to
crafting activists is the creation of a local chapter to crochet a
Hyperbolic Coral Reef. if any one was at Textures run by E-Text and
Textiles in Riga last year, you know what a lovely staring point that
is to speak of enfolding, species and environmental awareness -
creating active nodes by fusing art, science, mathematics, craft and
community. It seemed at first to RiAus an odd and soft inclusion in
show about hard science, but it embodies human striving, good will,
the wish for survival, recognition weve messed up, and the willingness
of the disparate and different to join together.

I'm not at all interested in singing the anthem of, or shaping the
canon of bioart itself, and I'm glad others are doing that, but rather
in creating a space where this "new" contemporary artform infiltrates
into the everyday. I do think often we can do ourselves as artists
and curators and writers a great disservice by neglecting the more
accessible aesthetic, material and poetic dimensions - the actual
space where this work can extend and embrace beyond its very smart
enclaves.

As said the same condition apply to the media arts - and I guess for
all the new forms yet to come. That pioneering imperative seems
rampant in technology fields.. a sense that once something becomes
settled, normalized its time to move to new territory, but I'm coming
to a place where I think maybe its time to look at what hasn't been
obvious - the subtleties rather than the spectacles. I went to
retrospective a while ago of one artists film and video work over 35
yeras. Video art has been a form I have always despised, yet I was
fascinated by the evolution and beauty of grain and compression and
migration. The content didn't matter, the materiality of the light did.

I seem to have veered off topic..
.. hope to catch up with many of you in Istanbul in September.

warm regards,
Melinda

Melinda Rackham
Contemporary Artforms Curator
Partner Curator Royal Institution of Australia
Adjunct Professor RMIT University

On 24/05/2011, at 2:05 AM, Daniel Lopez del Rincón wrote:

> Hi Jens and Yasminers,
>
> I have been reading Jens´explanations about the exhibition *Synth-
> ethics*:
> true food for thought. I joined the list months ago but I didn´t
> introduced
> myself. I´m Daniel López del Rincón, PhD student of Art History in
> University of Barcelona (Spain) in a research group of Art and New
> Tech
> (www. artyarqdigital.com).
>
> By mid June I´ll go to Wien and I´ll go and experience the exhibition
> Synth-ethics. I found the reflexions by Jens very interesting.
> Waiting for
> the direct experience when going to the exhibition I would like to
> make some
> questions:
>
> - Regarding the relationship between works and the museums where
> these are
> displayed: Is there a difference in doing an exhibiton on bioart
> in an art
> centre/museum or in a natural science museum?
> I´m thinking, for example: does the discourse (or meaning) of the
> works
> presented change in a scientific museum because an "artwork" is used
> to
> explain "scientific contents"? are there differences between public
> going
> to sciences museums and public of artistic museums?
>
> - Regarding the materiality of living artworks and the
> (bio)technologies
> used to "modify" them: to which extent technology is fundamental to
> talk
> albout "bioartistic" artwork?
> I´m thinking in the topic on the limits of the concept of bioart,
> that arose
> in the discussion you had in 2006 here in Yasmin. I see the
> difference between works that engage with biotechnology in a
> metaphorical/iconographic sense and others using biotechnology as
> their very
> medium (Jens talked very clearly about this, distinguishing between
> "meaning
> effects" and "presence effects" in "An art of Growing interest...").
> But:
> what are the differences between a work of art like the performances
> of i.e.
> Joseph Beuys (*I love America and America loves me*) with the
> presence of a
> living being (coyote) and the performer itself, and the works
> exhibited in *
> Synth-ethics*? Is (bio)technology the very key to understand/
> singularise the
> works displayed? How is technology and materiality "semantic"? Is
> technology not only a medium but also a concept?
>
> I have the impression that this questions are not just a problem of
> Bioart
> but maybe common to all "Media Art", but I think the materiality of
> (living)
> Bioart makes it different in some way.
>
> I would be glad if Jens (and others) could bring light to these
> questions.
>
> All the best,
>
> Daniel
>
> 2011/5/19 Jens Hauser <jhauser@club-internet.fr>
>
>> Hi Yasminers, dear Laura,
>>
>> thanks for pushing the discussion about „art AND synthetic biology"
>> or „art
>> WITH synthetic biology", which popped up after my announcement of the
>> current SYNTH-ETHICS exhibition at the Vienna Natural History
>> Museum, a step
>> further.
>> It's of course always better to actually go and see the exhibition
>> rather
>> than discussing it as a dry run, but here we're are again trapped
>> by the gap
>> between presence and representation, which is a current and known
>> problem
>> especially when it comes to biotechnological art forms which
>> speculate on
>> their underlying, supposed or real live-ness effects.
>>
>> Some of your points have to do with the very definition of the
>> branding and
>> the tangible reality of an emerging (or blended) technological
>> discipline
>> and what would be then the most justifiable posture for artists to
>> engage
>> with it; others deal with the question of the appropriate mediality
>> and
>> materiality of the aesthetic objects that relate to, or use tools
>> of this
>> "new discipline" - if ever it appears to be ontologically and
>> epistemologically different from previous biotechnologies in a more
>> or less
>> profound way.
>>
>> To recall, the Vienna exhibition which runs until June 26 in the very
>> "temple" of natural history, is an exhibition that presents art works
>> related to the new field of Synthetic Biology and its historical and
>> epistemological roots, and which questions the very notion of what
>> „synthesizing" actually means within the long tradition of the
>> discipline of
>> biology, be it in the light of the now acclaimed field of
>> contemporary
>> Synthetic Biology, or be it in the light of those previous
>> practices and
>> research orientations that currently converge to make Synthetic
>> Biology up.
>>
>> http://www.biofaction.com/synth-ethic/
>>
>> I pointed out earlier that this questions what Synthetic Biology
>> actually
>> can be defined by is not just a question of historical roots but of
>> diverging contemporary cultural and techno-scientific understanding
>> of the
>> field, quoting as one exemple De Lorenzo and Danchin (2008) with
>> their more
>> holistic approach which includes engineering, computing, modeling,
>> molecular
>> biology, evolutionary genomics, traditional biotechnologies,
>> orthogonal/artificial, origins of life research, proto-cells, protein
>> modeling etc.
>>
>> Laura, let's take up your first point, asking whether a contemporary
>> understanding of a changing field should not automatically
>> supercede its
>> earlier definitions:
>>
>> Why is it we are putting synthetic biology on the agenda now – and
>> not
>>> earlier if the field has the history we allure to? Should we
>>> distinguish
>>> between modern Synthetic Biology in the same way as traditional
>>> biotechnology is separated from modern biotechnology? The sciences
>>> has a
>>> shifting nature and its current state is often better understood
>>> in its
>>> present than past.
>>>
>>
>> I agree with your remark that putting SB on the agenda as a mere
>> topic
>> would be for sure – even curatorially speaking– a quite questionable
>> practice, just providing an intended utilitarian service in the
>> name of
>> science communication or educational purposes. Indeed, I disagree
>> with what
>> you say that science would be "better understood in its present
>> than past";
>> I believe that above all it is historical epistemology which helps
>> getting
>> the absolutely necessary critical distance when discussing the
>> "newness" of
>> a new field and its applications, then subverted, co-developed or
>> just used
>> by artists. But I think that you are absolutely right saying that
>> distinguishing between traditional biotechnology and modern
>> biotechnology is
>> addressing the same problematic so-called biotechnological art faces:
>>
>> How different are, as an example, the practices of tissue culture
>> concretely used by the Tissue Culture and Art project since 1996 to
>> those
>> already known in the first half of the 20th century? Looking
>> closely, one
>> may say that they differ only gradually – but have become
>> available, and of
>> interest, to artists only in the late 20th century. The case of
>> TC&A is even
>> more interesting when thinking that their use of tissue engineering
>> has
>> often been a way to actually criticize the hype around genomics
>> (taking the
>> latter as a topic) – using tissue engineering, materially speaking,
>> to
>> subvert discourses surrounding the topic of the Human Genome
>> Project ("Pig
>> Wings") – but both, indeed, include "traditional and modern
>> biotechnologies." Also, something has changed in biotechnologies
>> and tissue
>> engineering: When you read manuals from the beginning of the
>> century – I'm
>> just dissecting Erdmann's "Praktikum der Gewebepflege oder
>> Explantation
>> besonders der Gewebezüchtung" from 1922 – you recognize that half
>> of the
>> book does not deal with the actual practice of tissue culture, but
>> with how
>> and where to get the growth medium from and how to extract it from
>> living
>> organisms. I'm taking this as an example because many of TC&A's works
>> actually deal with the irony of the proclaimed contemporary
>> "victimlessness"
>> of contemporary biotechnology which hides its victims away, unlike
>> traditional biotechnology manuals. By pointing to this shift, TC&A
>> actually
>> criticizes modern techno-sciences by the use of, and the reference to
>> traditional ones – but without the very materiality itself
>> undergoing a
>> paradigm shift. It points to the contemporary "media blindness" of
>> contemporary sciences, ready to hide the means that produce
>> knowledge away
>> in the banality of their "materials & methods" section, while in the
>> contemporary artist's work, the (growth) medium – understood in its
>> sense of
>> milieu – is, finally, the very message. Another example from TC&A,
>> and which
>> may justify the very presence of a TC piece such as the "Worry
>> Dolls" in the
>> SYNTH-ETHICS exhibition, is that the used McCoy cells (human/mice)
>> can be
>> actually seen as a product of biological synthesis, even in the
>> realm or
>> tissue culture.
>>
>> In a similar sense, we can see Joe Davis's "Bacterial Radio",
>> consisting of
>> bacterially-grown platinum/germanium electrical circuits to
>> potentially
>> listen to AM stations (unfortunately the last one has been recently
>> dismantled in Vienna), as an ironic reverse of the main goal of
>> synthetic
>> biology by applying biological principals to electronic
>> engineering, instead
>> of vice versa. While synthetic biologists attempt to create "genetic
>> circuits" made out of standard biological parts, devices and systems,
>> frequently citing electronic engineering as their most favorite
>> metaphor,
>> critics argue that living organisms are too complex to be designed
>> and
>> constructed like electronic circuits. But even, to quote private
>> conversations with Joe Davis, for him the ideal "Bacterial Radio"
>> would be
>> functioning not with bacterially grown metal circuits in a Petri
>> dish, but
>> as a genetic circuit within a single bacterium… simply, even
>> contemporary SB
>> is not yet up for this.
>>
>> So, Laura, your following point is also important:
>>
>> How do we talk about synthetic biology as a practice? For instance,
>> in
>>> terms of standardised parts: Is merely using parts from Synthetic
>>> Biology
>>> sufficient (i.e. transformation) or does one have to engage in
>>> synthesising
>>> parts
>>>
>>
>> In fact you are asking the question whether SB art would need to
>> imply the
>> actual techno-scientific CREATION of, to make it 'standard' let's
>> say, an
>> artistic "biobrick", or whether the only USE of such a "biobrick"
>> would
>> actually make it qualifying for the "label" of "SB art." Does this
>> not ask
>> the question of the (rare) case of the artist as (scientific)
>> inventor (see
>> als Dieter Daniel's book " Artists as Inventors -Inventors as
>> Artists",
>> 2008)? My answer may seem quite conservative, coming myself from film
>> studies as my initial academic focus: of course I value most highly
>> all
>> formalist's and avantgardist's attempts to invent, transform,
>> transgress and
>> develop the very mediality of an art medium, but the great majority
>> of
>> artists in all disciplines is fine with just using these media for
>> aesthetic
>> and discursive practices, and I do not see a problem here.
>>
>> Taking the very example of Tuur van Balen's "Pigeon d'Or",
>> attempting at
>> making pigeons defecate soap, my understanding is that there is
>> both use and
>> development of two "biobricks" that work at the level of the
>> bacteria, not
>> yet at the level of the pigeon organism: one may lower the pH level
>> in
>> Bacillus subtilis, the other makes it express lipase. See the
>> "biobrick"
>> here, I trust indicating this correctly:
>> http://partsregistry.org/Part:BBa_K200031
>>
>> Of how many artists do we indeed know who really develop poetico-
>> artistic
>> "biobricks" – and should this even be a criterium for art? What
>> comes to my
>> mind is this "teenage gen poem" by the Bangalore based art/science
>> team
>> Yashas Shetty and Mukund Thattai named "BBa_K22100", a sequence of
>> DNA that
>> produces the organic compound Geosmin, and which is responsible for
>> the
>> smell of wet earth when it
>> begins to rain, thus playing on the mystique surrounding the aroma
>> of the
>> Indian monsoon. How many do you know?
>>
>> A last point I wish to develop relates to your quote of my 2005
>> text "Bio
>> Art—Taxonomy of an Etymological Monster" (Ars Electronica catalogue
>> "Hybrid") in which I wrote that "bio-fictional manifestations such as
>> chimera-sculptures, DNA-portraits, chromosome- paintings or mutant-
>> depicting
>> digital photo-tricks are no more examples of Bio Art than Claude
>> Monet's
>> impressionistic paintings could be classified as ‚Water Lily Art' or
>> ‚Cathedral Art'". While here, the question was whether sculpture,
>> painting,
>> photoshop etc. could be or not appropriate media – in the
>> aforementioned
>> sense of "media adequacy" – to address biotechnology related issue
>> in their
>> very presence rather than in their symbolic representation, I
>> suspect that
>> your point is that works in SYNTH-ETHICS may not materially relate
>> to the
>> field of Synthetic Biology, but rather in a thematic or evocative
>> sense. I
>> do respect the kind of puristic endeavor lurking behind such
>> suggestion, but
>> tend to affirm that this comparison is not accurate. While there is
>> no doubt
>> that painting or sculpture in their classical mediality do represent
>> bio-topics, however, I would claim that all works included in SYNTH-
>> ETHICS
>> do actually include material techniques or disciplines which
>> constitute the
>> convergent parts of Synthetic Biology, both conceptually and
>> materially.
>>
>> Let's take, as a last case study, the development of the concept of
>> proto-cells, which are so central in Synthetic Biology nowadays
>> (again). For
>> sure, as an example for the current state of the "art", Steen
>> Rasmussen
>> (Rasmussen [ed.]: Protocells : bridging nonliving and living matter.
>> Cambridge, 2009), in his question what protocells actually are,
>> states in
>> general as an universal epistemological truth that „all life forms
>> are
>> composed of molecules that are not themselves alive." In a
>> contemporary
>> sense, he then elaborates that three operational functionalities
>> may be
>> required: "a METABOLISM that extracts usable energy and resources
>> from the
>> environment, GENES that chemically realize informational control of
>> living
>> functionalities, and a CONTAINER that keeps them all together."
>> Now, for
>> example, in the use of the term protocell by artist and architect
>> Rachel
>> Armstrong, who seeks to apply the properties of living systems to
>> large-scale constructions, her protocells in her installation "Living
>> Chemistry" are more the precursors of "living" cells formed by the
>> innate,
>> complex chemistry of molecules existing at the interface between
>> oil and
>> water. They definitively form a container and express a metabolism,
>> but they
>> are not ruled by genes that would permit REPLICATION rather than
>> DIVISION
>> only. But would it be for this reason that we would dismiss the
>> material
>> qualities of Armstrong's artistic protocells? Of course, she
>> derives her
>> practice from former research on protoplasmatic structures, as
>> already
>> carried out in basic research at the end of the 19th century. But
>> in the
>> context of today's synthetic biology, protocells are becoming of
>> central
>> interest for different reasons: While attempts to make cells
>> function with a
>> totally synthetic genome have been successful, it still remains a
>> challenge
>> to actually synthesize the cell itself as the basic unit of life
>> and have it
>> serve, then, as a "chassis" for genetic circuits. And who can be,
>> as a
>> speculative question, totally sure that such protocells, as
>> biological
>> machines following an engineering principle rather that needing to
>> be alive,
>> really need REPLICATION capacities and could not be fine with
>> DIVISION
>> capacities only?
>>
>> To finish with, I would like to quote a short passage from Stéphane
>> Leduc
>> (1853–1939), the French biologist who was actually the first to
>> coin the
>> term „synthetic biology" in 1910. In "The Mechanisms of Life" he
>> writes:
>> „The evolution of biology has been the same as that of the other
>> sciences;
>> it has been successively DESCRIPTIVE, ANALYTICAL, and SYNTHETIC.
>> Just as
>> synthetic chemistry began with the artificial formation of the
>> simplest
>> organic products, so biological synthesis must content itself at
>> first with
>> the fabrication of forms resembling those of the lowest organisms.
>> Like
>> other sciences, synthetic biology must proceed from the simpler to
>> the more
>> complex, beginning with the reproduction of the more elementary vital
>> phenomena."
>>
>> By this quote, and by the other elements cited, I hope having
>> delivered
>> some food for thought and some reasons why SYNTH-ETHICS is
>> presenting itself
>> through an epistemological approach rather than through the prism
>> of the
>> self-understanding of an emerging contemporary discipline and its
>> current
>> techniques only.
>>
>> Best wishes,
>>
>> Jens
>>
>>
>>
>> PS 1: You may have a look at how the New Scientist has seen the show:
>>
>> http://www.newscientist.com/blogs/culturelab/2011/05/unnatural-art.html
>>
>> PS 2: SYNTH-ETHICS stages art works by Rachel Armstrong, Art
>> Orienté objet
>> (Marion Laval-Jeantet & Benoît Mangin), Adam Brown, Joe Davis, Andy
>> Gracie,
>> Roman Kirschner, James Tour & Stephanie Chanteau, Tuur Van Balen,
>> Paul
>> Vanouse, The Tissue Culture and Art Project (Oron Catts & Ionat
>> Zurr).
>>
>>
>>
>>
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> --
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> Daniel López del Rincón
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Re: [Yasmin_discussions] Boundaries

On 30/05/11 4:24 AM, "hight@34n118w.net" <hight@34n118w.net> wrote:
> Good point. I think the fascinating thing is the larger gestalt

Jeremy,

You're not kidding about the larger gestalt! Just in the past couple of
months arts/culture orgs including Future Everything, Eyebeam and MediaLab
Prado, have presented some really exciting projects around data.

Here at ANAT in Australia we've been developing 'ECHOLOGY: making sense of
data', which will take place from 2011-13. Kicking off with a travelling
seminar in November, the project is especially interested in data
representations that move beyond the screen and play to the fuller suite of
senses, embracing sound, light, kinetics, materials (water, sand, gas, fire,
etc) in their realisation.

We're not quite at launch stage, but I thought yasminers might be interested
in what we're planning, so I've included a brief overview below.. If you'd
like to know more, please get in touch.

Cheers
Vicki

----
ECHOLOGY: making sense of data

The 21st Century is an era of pervasive and ever-increasing data collection;
it tracks who we are, what we do and how we live our lives ­ in effect
creating a complex, connected universe of information-based ecologies.
Alongside this, there has been a rapid proliferation of proprietary and open
source publication and aggregation tools, enabling critical and creative
approaches to data representation well beyond the intent and scope of those
involved in its collection.

Presented by the Australian Network of Art & Technology (ANAT) and Carbon
Arts, ECHOLOGY: making sense of data introduces artists and other creative
types to the use of real-time data in the production of artworks for the
public realm ­ bringing these abstract information ecologies into our more
grounded, local spaces. We are especially interested in approaches that
embrace new ways of representing data through the use of sound, kinetics,
materials (water, sand, plants) and light.

Timeline
2011: Travelling roadshow featuring Julie Freeman, Usman Haque, Joyce
Hinterding, Geo Homsy, Natalie Jeremijenko and DV Rogers.
2012: Site identification, call for proposals, development lab
2013: Production, unveiling at ISEA2013 (hosted by ANAT in Sydney).

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Re: [Yasmin_discussions] Art Agency, and its Constitution :ANNOUNCING YASMIN DISCUSSION

re


So when you talk about relation between society and science in one hand, and the sociery and art in another hand
So you must notice
1- the impact of the social networks on the arab revolutions.

2 - The impact of networked arts in rising up dictatories

Since January 2011, the Arab world is in a very
important period in history that was started by Bouazizi's immolation in
Tunisia. It has been transformed into a cyber-revolution that influenced
connected communities to rise up against dictatorships… There is a remarkable
interaction between genres like Rap music and cyber-art through their digital
roots. EL GENERAL links his connection to the revolution against the
ex-president in Tunisia through his Rap music. Likewise, this artist,
cyberactivists and bloggers has been arrested because of their resistance to Internet
censorship. The reaction of the Tunisian people has been exceptional as they
posted videos on social sharing networks to expose repression and corruption to
the entire world. After the Tunisian revolution, other connected societies such
as Egypt have done the same to pursue their freedom, and others still fight to
overthrow the dictatorial regimes in their countries. In so doing, Arab Artists
are making exceptional post-revolution art based on new expressions based on
this newfound sense of freedom…
Wafa






GAGNEZ PLEIN D'ARGENT TOUT SIMPLEMENT EN LISANT DES EMAILS CLIC ICI

passez votre annonce gratuitement ici


> Date: Sun, 29 May 2011 14:16:16 +0200
> From: rmalina@alum.mit.edu
> To: Yasmin_discussions@estia.media.uoa.gr
> Subject: [Yasmin_discussions] Art Agency, and its Constitution :ANNOUNCING YASMIN DISCUSSION
>
> Art Agency,and its Constitution .
> Science Agency and its Constitution
>
> ANNOUNCING YASMIN DISCUSSION:
> Follow the discussion on the YASMIN BLOG:
> http://yasminlist.blogspot.com/
> Contribute to the discussion by registering to YASMIN DISCUSSIONS at:
> http://estia.media.uoa.gr/yasmin/index.html
>
>
> Moderator
> G. H. Rabbath;Doctor of Philosophy, Human Sciences, and
> Associate Professor at Université Saint-Joseph, Beirut, Lebanon .
>
> This year the Venice Biennial:
> http://www.labiennale.org/en/Home.html
> promises to be the most successful ever with a record of national
> participation despite the last minute withdrawal of some Middle
> -Eastern countries like Lebanon. One of the 5 questions that artistic
> director Bice Curriger asked all the participating artists is: "If art were
> a nation, what would its constitution be?"
>
> The current turn of events in the MENA countries will change the face
> of the region for ever. New media is viewed as the critical factor in
> creating political and social change.
>
> Have new media, and social media reached a critical point
> where they can help build a country from the bottom-up, or can they only
> topple governements for the moment? What is the
> relation with contemporary art practices? Is there still a
> possibility for individual agency through new media and
> art, and is the Biennial format the last place to explore new
> political models?
>
> In keeping with the YASMIN aim to network artists and
> scientists around the Mediterranean, we propose to couple
> the discussion to the related question.
>
> Science Agency and its Constitution. "If Science were a Nation,
> what would its constitution be?"
>
> Here are some of the web sites :
>
> Arabstateofmind: http://thestateofmind.be/
>
> http://www.artinfo.com/news/story/37393/resculpting-lebanons-constitution-at-the-venice-biennale-a-qa-with-curator-georges-rabbath/
>
> Follow the discussion on the YASMIN BLOG:
> http://yasminlist.blogspot.com/
> Contribute to the discussion by registering to YASMIN DISCUSSIONS :at
> http://estia.media.uoa.gr/yasmin/index.html
>
> _______________________________________________
> 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
>
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[Yasmin_discussions] Re : Art Agency, and its Constitution :ANNOUNCING YASMIN DISCUSSION

HelloThanks Roger for invitationwhen i saw the announcement about the two questions, i had one question in my mind: can we separate science and art in this era?
simple answer :nowhen we say art and its constitution or science we cannot find the difference between, because since the creation of the WWW we can't ask these question. The cyberspace can gather scientists and artists in the same constitution of the internet virtual territories.By the creation of Yasmin network, art is very related to science in this mediterranean of the internet network  
that was made by scientists...  So there is no boundaries between artists and scientists in the two borders of real mediterranean basin...These virtual territories can present only one constitution for the two : art and science...To be continuedWafa
--- En date de : Dim 29.5.11, roger malina <rmalina@alum.mit.edu> a écrit :

De: roger malina <rmalina@alum.mit.edu>
Objet: [Yasmin_discussions] Art Agency, and its Constitution :ANNOUNCING YASMIN DISCUSSION
À: "YASMIN DISCUSSIONS" <Yasmin_discussions@estia.media.uoa.gr>
Date: Dimanche 29 mai 2011, 14h16

Art Agency,and its Constitution .
Science Agency and its Constitution

ANNOUNCING YASMIN DISCUSSION:
Follow the discussion on the YASMIN BLOG:
 http://yasminlist.blogspot.com/
Contribute to the discussion by registering to YASMIN DISCUSSIONS at:
http://estia.media.uoa.gr/yasmin/index.html


Moderator
 G. H. Rabbath;Doctor of Philosophy, Human Sciences, and
 Associate Professor at Université Saint-Joseph, Beirut, Lebanon .

This year the Venice Biennial:
 http://www.labiennale.org/en/Home.html
promises to be the most successful ever with a record of national
participation despite the last minute withdrawal of some Middle
 -Eastern countries like Lebanon.  One of the 5 questions that artistic
director Bice Curriger asked all the participating artists is: "If art were
a nation, what would its constitution be?"

 The current turn of events in the MENA countries will change the face
 of the region for ever. New media is viewed as the critical factor in
 creating political and social change.

Have new media, and social media reached a critical point
where they can help build a country from the bottom-up, or can they only
topple governements for the moment? What is the
relation with contemporary art practices? Is there still a
possibility for individual agency through new media and
art, and is the Biennial format  the last place to explore new
political models?

In keeping with the YASMIN aim to network artists and
scientists around the Mediterranean, we propose to couple
the discussion to the related question.

Science Agency and its Constitution. "If Science were a Nation,
what would its constitution be?"

Here are some of the web sites :

 Arabstateofmind: http://thestateofmind.be/

http://www.artinfo.com/news/story/37393/resculpting-lebanons-constitution-at-the-venice-biennale-a-qa-with-curator-georges-rabbath/

 Follow the discussion on the YASMIN BLOG:
 http://yasminlist.blogspot.com/
Contribute to the discussion by registering to YASMIN DISCUSSIONS :at
 http://estia.media.uoa.gr/yasmin/index.html

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Re: [Yasmin_discussions] Boundaries

Hi Roger,

I am not sure if this is really answered in this interview I did with Stanza
but it might go in that direction:

http://www.theinternetofthings.eu/content/stanza-can-we-use-new-technologies-imagine-world-where-we-are-liberated-and-empowered

have a good week! Rob


> whats not clear to me is whether these kinds of work
> can really change our behaviours or relationship
> to the world= to the extenthat they occupy our
> mediated spaces they can perhaps "re thicken" our
> connection to phenomena that we only have
> abstract awareness of) but without embodiment
> do they remain un=intimate ? that boundary
> between the virtual and physical is multi layered
>
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Re: [Yasmin_discussions] Boundaries

Good point. I think the fascinating thing is the larger gestalt that
includes works of folks like Natalie Jeremijenko and Carlo Ratti at MIT's
Senseable lab. Also looking back at Buckminster Fuller's Geoscope concept
in 1961/62.

Fuller saw the need for a global inter-connected data visualization
skinning a a globe with multiple live data sets. He was far ahead of his
time and now this idea is becoming part of our larger culture. David
Mcconville, president of the Buckminster Fuller Institute (BFI) was
trained as an artist. He now does large scale immersive visualizations for
museums as well as Nasa and Noaa. This begs the question of aren't art
and science when combined often the leap forward and the place of
experimentation? And the terms themselves, as common usage standards as
they are, aren't they linguistically problematic? What border edge ceases
"ART" and what crossing line halts "SCIENCE"?

Math at the calculus level becomes poetry and poetry at times is inspired
by astronomy for a generalist example. Natalie is looking at environmental
data, pollution and even possible reactive architecture techniques yet is
an artist. Carlo Ratti is an architect yet has a malleable cloud city
proposal and an army of tiny helicopter sensors that fly in the air. The
line is quite porous between.

Stanza has a larger exploration at work, almost a meta research project
that his projects are nodes of. He is looking also at surveillance, the
future city as dystopic data heavy or re-constituted as some write of in
architectural theory as reactive architecture and even into Marcos Novak's
concepts of "Eversion" as well as new modes of interface as one moves in
spaces. I appreciate that he also by placing the data set off screen into
much older notions of public art and even arguably sculpture moves from
the data/screen dichotomy into a collision with other art and space
related memes.

This is also why several other artists in the exhibition are codified in
generalist terms as "writers" yet have done projects that take fictional
narratives and even personal experience and information and place them in
physical spaces. Thus we see explorations of space and data that range
from the reactive, to pure data, to grafted fictions to the personal
placed in a public context.

The question is where does it all go from here? Also what can encourage
more art/science cross/inter pollinations when there is so much pressure
to choose one or the other?


> jeremy
>
> the work of Stanza that was just posted to the
> LEA channel (
> http://www.youtube.com/user/LEAbroadcast?feature=uploademail_ch)
>
> http://www.youtube.com/watch?v=1ZTyNjyBWMg
>
> Sensity involves collected data across the city of London visualized
> to make art. The whole world is a dynamic real time artwork. The city
> data space becomes mirrored online and the environment becomes an
> emergent series generative artworks.
>
> This kind of work is proliferating that takes existing large
> data sets, or artist generated ones, and re inserts them
> into the city or personal environement via installations
> or other devices
>
> whats not clear to me is whether these kinds of work
> can really change our behaviours or relationship
> to the world= to the extenthat they occupy our
> mediated spaces they can perhaps "re thicken" our
> connection to phenomena that we only have
> abstract awareness of) but without embodiment
> do they remain un=intimate ? that boundary
> between the virtual and physical is multi layered
>
> roger
> _______________________________________________
> 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.
> HOW TO UNSUBSCRIBE: on the info page, scroll all the way down and enter
> your e-mail address in the last field. Enter password if asked. Click on
> the unsubscribe button on the page that will appear ("options page").
> HOW TO ENABLE / DISABLE DIGEST MODE: in the options page, find the "Set
> Digest Mode" option and set it to either on or off.
>

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[Yasmin_discussions] Art Agency, and its Constitution :ANNOUNCING YASMIN DISCUSSION

Art Agency,and its Constitution .
Science Agency and its Constitution

ANNOUNCING YASMIN DISCUSSION:
Follow the discussion on the YASMIN BLOG:
 http://yasminlist.blogspot.com/
Contribute to the discussion by registering to YASMIN DISCUSSIONS at:
http://estia.media.uoa.gr/yasmin/index.html


Moderator
 G. H. Rabbath;Doctor of Philosophy, Human Sciences, and
 Associate Professor at Université Saint-Joseph, Beirut, Lebanon .

This year the Venice Biennial:
 http://www.labiennale.org/en/Home.html
promises to be the most successful ever with a record of national
participation despite the last minute withdrawal of some Middle
 -Eastern countries like Lebanon.  One of the 5 questions that artistic
director Bice Curriger asked all the participating artists is: "If art were
a nation, what would its constitution be?"

 The current turn of events in the MENA countries will change the face
 of the region for ever. New media is viewed as the critical factor in
 creating political and social change.

Have new media, and social media reached a critical point
where they can help build a country from the bottom-up, or can they only
topple governements for the moment? What is the
relation with contemporary art practices? Is there still a
possibility for individual agency through new media and
art, and is the Biennial format  the last place to explore new
political models?

In keeping with the YASMIN aim to network artists and
scientists around the Mediterranean, we propose to couple
the discussion to the related question.

Science Agency and its Constitution. "If Science were a Nation,
what would its constitution be?"

Here are some of the web sites :

 Arabstateofmind: http://thestateofmind.be/

http://www.artinfo.com/news/story/37393/resculpting-lebanons-constitution-at-the-venice-biennale-a-qa-with-curator-georges-rabbath/

 Follow the discussion on the YASMIN BLOG:
 http://yasminlist.blogspot.com/
Contribute to the discussion by registering to YASMIN DISCUSSIONS :at
 http://estia.media.uoa.gr/yasmin/index.html

_______________________________________________
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http://estia.media.uoa.gr/mailman/listinfo/yasmin_discussions

Yasmin URL: http://www.media.uoa.gr/yasmin

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[Yasmin_discussions] Boundaries

jeremy

the work of Stanza that was just posted to the
LEA channel ( http://www.youtube.com/user/LEAbroadcast?feature=uploademail_ch)

http://www.youtube.com/watch?v=1ZTyNjyBWMg

Sensity involves collected data across the city of London visualized
to make art. The whole world is a dynamic real time artwork. The city
data space becomes mirrored online and the environment becomes an
emergent series generative artworks.

This kind of work is proliferating that takes existing large
data sets, or artist generated ones, and re inserts them
into the city or personal environement via installations
or other devices

whats not clear to me is whether these kinds of work
can really change our behaviours or relationship
to the world= to the extenthat they occupy our
mediated spaces they can perhaps "re thicken" our
connection to phenomena that we only have
abstract awareness of) but without embodiment
do they remain un=intimate ? that boundary
between the virtual and physical is multi layered

roger
_______________________________________________
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Yasmin URL: http://www.media.uoa.gr/yasmin

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HOW TO ENABLE / DISABLE DIGEST MODE: in the options page, find the "Set Digest Mode" option and set it to either on or off.

Saturday, May 28, 2011

[Yasmin_discussions] issues and questions

What are the constructs that make and define "borders"? Are maps partially
born of conquest and exclusion? Aren't they deeply semiotically and
semantically charged spaces then? How much has anyone touched upon this?

Are we in a moment within this recession of seeing emphasis being shone
upon engineering and hard sciences financially as opposed to more
experimental scientific research and the arts? Or is this a false
dialectic formulated by the media and a few politicians?

How in the near future will augmented reality, locative aware
visualizations and immersive visualizations evolve? What issues are
arising? Are we seeing space and spaces differently? How is the
corporatization of cutting edge concepts any different from similar
moments and progressions in the past? Should we look back before we look
ahead?

Has texting led us to a dystopic impasse not so much in terms of
technology but connected psychology and socialization issues? Some polls
have shown that teens prefer texting to face to face communication.
Texting and driving in some areas are now the leading cause of accidents.
What is this screen obsessed moment in larger contexts? What must change?
Is this an ironic result of the long desired move to web 2.0 and toward
3.0 as well as the desire for malleable screen space (multi tasking) and
malleable mapping (map overlay data results etc)?

How must art be named, displayed, codified as to best avoid the pitfalls
of fields being seen as one loaded set of generalist connotations (new
media, locative media, etc) while works by artists in many different
"fields" use the same tools ?


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Friday, May 27, 2011

[Yasmin_discussions] post on LEA New Media Exhibition Re-Drawing Boundaries: Recent Locative Media workshop Nairobi

"Without tubes of paint, there would have been no Impressionism."
Pierre-Auguste Renoir

There is a beautiful story about how in painting the style of impressionism was fuelled by the invention of the tube. When John G.Rant in 1841 invented the paint tube, artist where freed from their studios: they could bring easel, canvas and paint with them in the field and became mobile painters. This resulted in a totally new style: the image needed to be produced in just a couple of hour's and could relate to direct change of light conditions on location. It revolutionized visual style but also deeply influenced the thematic focus in landscape depiction. For us this is a very outstanding example of how technology can bring about the emergence of new a style and focus of content in art.

When we first encountered GPS technology in 2001, we realized it could be used as such a new visualization tool for landscape. Like in "Plein Air" painting, the technology results in work that was secured to a specific location and timeframe. Besides it brings about a set of new characteristics: its focus on movement, speed and direction. The fact that there is a small machine, device involved that automatically records aspects of reality, connects in our artistic view the medium to photography and film. Through the years we realized that all those facets bring about new relationships between artist, landscape, mobility and representation.

Our motivation to do our own projects but also to do workshops comes from this fascination and curiosity. In our workshops we find it time after time exiting to confront other artists with locative media technology and see what their (first) experiments bring. We explore the GPS-technology in working together with a wide range of participants. The goal is to find new ways of thinking about art, landscape depiction and experience of space. We also explore the new ways of expression that the mix of skills leads to. Just recently we conducted a short workshop at de Go Down Arts Center and the CCAEA in Nairobi. This occasion was very special to us, as every participant was a painter. The step to using GPS as a tool for making art was a challenge for them to meet. The first tests we did in the proximity of the Go Down and the encounter with their own recorded mobility made them enthusiastic.

In their GPS-works most of the participant made a choice for recording their daily routes, their journeys between their homes, villages and studio. In doing so they found themselves in a new relation to the people and space they passed: all became part of a work of art and gave a new layer to their daily commuting. In that way they encountered our assignments as: to be aware of your movements. To be a part of the landscape and social structure you live in. In a way they all made a portrait of themselves projected on their spatial behavior.

Just as interesting for us was the new way the transformation of the GPS-routes into an exhibition took place. We decided explored the full potential of the artist's painterly skills, and developed a work method whereby a series of murals was made direct on the walls of the space. In order to do so the routes were projected on the wall, and the artists used these projections as a starting point for their murals.

This resulted in a series of ten very different, visually rich and colorful works. Some were mere paintings, others used nails and rope or even newspapers to visualize the GPS-tracks and relive the route, brush stroke after brush stroke or nail after nail. This led to colorful and thought through murals that transcended the digital images in a unique and very personal way.

Find more and images on www.geotales.wordpress.com

Esther Polak and Ivar van Bekkum, May 2011


Esther Polak/Ivar van Bekkum
www.beelddiktee.nl
www.ivarvanbekkum.nl
www.estherpolak.nl

Van Bouwdijk Bastiaansestraat 145
1054 RV Amsterdam

Ivar van Bekkum
+31 (0)6 44692524
ivar@ivarvanbekkum.nl


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HOW TO UNSUBSCRIBE: on the info page, scroll all the way down and enter your e-mail address in the last field. Enter password if asked. Click on the unsubscribe button on the page that will appear ("options page").
HOW TO ENABLE / DISABLE DIGEST MODE: in the options page, find the "Set Digest Mode" option and set it to either on or off.

Wednesday, May 25, 2011

[Yasmin_discussions] Art and Science of Boudaries

Esther

I think your emphasis on GPS as a transformative cultural technology
is right on- there is a growing and interesting international movement
on participatory mapping= for instance these workshops in the congo
described below

and indeed GPS is affecting in a deep sense our personal connection
to mapping and geography= a good example of a technology that
shifts the boundary between virtual and real space- and there are
a number of art science projects like yours under way

this also connects the to community remote sensing movement

http://www.earthmagazine.org/earth/article/429-7db-3-15

which enables public access to data from down looking satellites

as you describe:

In their GPS-works most of the participant made a choice for recording
their daily routes, their journeys between their homes, villages and
studio. In doing so they found themselves in a new relation to the
people and space they passed: all became part of a work of art and
gave a new layer to their daily commuting. In that way they
encountered our assignments as: to be aware of your movements. To be a
part of the landscape and social structure you live in. In a way they
all made a portrait of themselves projected on their spatial behavior.

indeed mapping is an idea that is understood by everyone and by making
mapping intimate as you are
doing it enters a personal space that is cultural and i agree is
leading to new kinds
of art making

roger

here is the congo basin project

Participatory mapping workshops underway in Congo

http://esciencenews.com/articles/2011/03/25/participatory.mapping.workshops.underway.congo

Published: Friday, March 25, 2011 - 17:34 in Earth & Climate
Many of the mapping and monitoring efforts associated with REDD focus
on the big picture of carbon stock and of deforestation trends
throughout the tropics. A research expedition just underway, led by
scientists at the Woods Hole Research Center, is focusing on the third
piece necessary to inform a global REDD mechanism – namely, how do
people use the land? Through a series of participatory mapping
workshops with indigenous peoples in the Congo Basin, scientists and
participants are discussing land tenure, forest inventory techniques,
and baselines that could help secure lands for local populations.
Outcomes will include training in the use of GPS for mapping and a
report from interviews done in the field. Nadine Laporte, Glenn Bush,
and Scott Goetz are scientists at WHRC and are leading this effort.
Their itinerary began in Kinshasa, on March 14, and continues to
Gemena, Bikoro, and Mbandaka.


---------- Forwarded message ----------
From: Esther Polak <esther@estherpolak.nl>
Date: Sun, May 22, 2011 at 9:49 PM
Subject: [Yasmin_discussions] LEA New Media Exhibition Re-Drawing
Boundaries: Recent Locative Media workshop Nairobi
To: yasmin_discussions@estia.media.uoa.gr


"Without tubes of paint, there would have been no Impressionism."
Pierre-Auguste Renoir

There is a beautiful story about how in painting the style of
impressionism was fuelled by the invention of the tube. When John
G.Rant in 1841 invented the paint tube, artist where freed from their
studios: they could bring easel, canvas and paint with them in the
field and became mobile painters. This resulted in a totally new
style: the image needed to be produced in just a couple of hour's and
could relate to direct change of light conditions on location. It
revolutionized visual style but also deeply influenced the thematic
focus in landscape depiction. For us this is a very outstanding
example of how technology can bring about the emergence of new a style
and focus of content in art.

When we first encountered GPS technology in 2001, we realized it could
be used as such a new visualization tool for landscape. Like in "Plein
Air" painting, the technology results in work that was secured to a
specific location and timeframe. Besides it brings about a set of new
characteristics: its focus on movement, speed and direction. The fact
that there is a small machine, device involved that automatically
records aspects of reality, connects in our artistic view the medium
to photography and film. Through the years we realized that all those
facets bring about new relationships between artist, landscape,
mobility and representation.

Our motivation to do our own projects but also to do workshops comes
from this fascination and curiosity. In our workshops we find it time
after time exiting to confront other artists with locative media
technology and see what their (first) experiments bring. We explore
the GPS-technology in working together with a wide range of
participants. The goal is to find new ways of thinking about art,
landscape depiction and experience of space. We also explore the new
ways of expression that the mix of skills leads to. Just recently we
conducted a short workshop at de Go Down Arts Center and the CCAEA in
Nairobi. This occasion was very special to us, as every participant
was a painter. The step to using GPS as a tool for making art was a
challenge for them to meet. The first tests we did in the proximity of
the Go Down and the encounter with their own recorded mobility made
them enthusiastic.

In their GPS-works most of the participant made a choice for recording
their daily routes, their journeys between their homes, villages and
studio. In doing so they found themselves in a new relation to the
people and space they passed: all became part of a work of art and
gave a new layer to their daily commuting. In that way they
encountered our assignments as: to be aware of your movements. To be a
part of the landscape and social structure you live in. In a way they
all made a portrait of themselves projected on their spatial behavior.

Just as interesting for us was the new way the transformation of the
GPS-routes into an exhibition took place. We decided explored the full
potential of the artist's painterly skills, and developed a work
method whereby a series of murals was made direct on the walls of the
space. In order to do so the routes were projected on the wall, and
the artists used these projections as a starting point for their
murals.

This resulted in a series of ten very different, visually rich and
colorful works. Some were mere paintings, others used nails and rope
or even newspapers to visualize the GPS-tracks and relive the route,
brush stroke after brush stroke or nail after nail. This led to
colorful and thought through murals that transcended the digital
images in a unique and very personal way.

Find more and images on www.geotales.wordpress.com


Esther Polak and Ivar van Bekkum,  May 2011


Esther Polak/Ivar van Bekkum
www.beelddiktee.nl
www.ivarvanbekkum.nl
www.estherpolak.nl

Van Bouwdijk Bastiaansestraat 145
1054 RV Amsterdam

Ivar van Bekkum
+31 (0)6 44692524
ivar@ivarvanbekkum.nl

_______________________________________________
Yasmin_discussions mailing list
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page").
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--

Roger Malina

I am in France at the moment:

33 (0) 6 80 45 94 47

Roger Malina is  Director of the Observatoire Astronomique de
Marseille Provence and Executive Editor of the Leonardo Publications
at MIT Press
and member of the steering committee of IMERA the Mediterranean
Institute for Advanced Studies.

Postal Address: OAMP, 38 Rue Joliot Curie, Marseille 13388, France

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HOW TO ENABLE / DISABLE DIGEST MODE: in the options page, find the "Set Digest Mode" option and set it to either on or off.