Check out the 12 min video: cacm.acm.org/
People w vibrant minds but experiencing locked-in syndrome (trapped w in
the boundary of their body) are navigating communication and movement w
'thinking caps' and computer aps. A sensational cartographic moment
--from the inside out, in contrast to applications telling us where we are
and what is relevant at X location --from the outside, in. And of course
the resulting swing of the reflective equilibrium between the inside and
the outside.
Jeni
On 5/2/11 5:26 PM, "hight@34n118w.net" <hight@34n118w.net> wrote:
>Hello all,
>
>I am very thrilled to be part of this discussion around the RE-Drawing
>Boundaries show I am curating and the many larger connected issues Roger
>and Lanfranco have eloquently referenced thus far.
>
>Some possible jumping off points can be:
>
>Are maps only pragmatic considering their origins and some usage and
>symbolic portent (border, territory etc...)?
>
>What is this cartographic moment we are all in? What key positives and
>negatives are becoming clear as we see an explosion of apps that are
>location based and screen based map augmentaion/AR ?
>
>Do we ever limit art in naming it?
>
>What is new media ? locative media? isn't each many things and many many
>possible groupings?
>
>What about other borders: of body, of identity, of art/science/technology
>?
>
>Jeremy
>
>
>
>
>
>Dear All,
>>
>>There are so many exciting things happening with the Leonardo Electronic
>>Almanac including the possibility of transferring exhibitions from the
>>virtual to the real.
>>For this reason we have developed a collaboration with Kasa Gallery in
>>Istanbul where some of these shows will take place and where we will
>>have
>>research symposia and seminars on the current state of contemporary art.
>>
>>An explanation - LEA has two curators and two senior curators.
>>The curators are:
>>Vince Dziekan - Digital Media Curator (with whom we have developed and
>>worked with to bend the awkward structure of social media to art
>>exhibition
>>and sharing)
>>Jeremy Hight - New Media Curator (who has a specific focus on the medium
>>itself as a mode of production)
>>The Senior Curators: Lanfranco Aceti and Christiane Paul
>>
>>Vince Dziekan has already had a run of several exhibitions the last of
>>which
>>he has curated is 'The Southern Ocean Studies' by Baily, Corby &
>>Mackenzie.
>>
>>Jeremy Hight has launched his exhibition Re-Drawing Boundaries with a
>>series
>>of artists:
>>
>>General exhibition announcement:
>>http://www.leoalmanac.org/index.php/lea/exhibition/lea_new_media_exhibiti
>>on/
>>Teri Rueb:
>>http://www.leoalmanac.org/index.php/lea/exhibition/lea_new_media_exhibiti
>>on_interview_with_teri_rueb/
>>Jonah Brucker-Cohen
>>http://www.leoalmanac.org/index.php/lea/exhibition/lea_new_media_exhibiti
>>on1/
>>
>>To set up the framework in order to think about archival issues,
>>modalities
>>of preservation of presence online, dissemination as well as keeping in
>>mind
>>research outputs has been complex and difficult. To set up this show
>>Re-Drawing boundaries it has taken us several months of work and thanks
>>have
>>to go to Jeremy Hight and Patrick Tresset who is working at Goldsmiths
>>and
>>has been implementing all of the technical issues in the back end of the
>>site itself.
>>
>>As you can see although there are differences in the methodological
>>frameworks used by Vince Dziekan and Jeremy Hight, the exhibitions talk
>>to
>>each other and develop thematic issues that are cross boundaries,
>>transdisciplinary and question modalities of display and engagement with
>>the
>>contemporary arts as well as the materiality/immateriality of the
>>medium.
>>
>>The decision I made in in developing these framework is to provide a
>>diverse system that is looking at art as a complex set of data and a
>>complex
>>set of recontextualizations across time, space and cultural identifiers.
>>
>>LEA will continue this strategy moving as well between the boundaries of
>>physical spaces and screens - analyzing and discussing both the
>>complexity
>>of data but also the boundaries of artistic activities that can no
>>longer
>>be
>>restricted within national borders.
>>
>>These are shows that we are displaying online with the clear intent of
>>housing them in physical galleries here in Istanbul and across the
>>world.
>>
>>I just wanted to take this change to offer a bit of an insight and also
>>to
>>thank those that for the past 6 months have been working behind the
>>curtains: Ozden Sahin, LEA Editorial Manager and Curator and Deniz Cem
>>Onduygu, LEA Art Director.
>>
>>
>>On Mon, May 2, 2011 at 11:49 AM, roger malina <rmalina@alum.mit.edu>
>>wrote:
>>
>>>yasminers
>>>
>>>thanks jeremy for getting the discussion going
>>>
>>>one of the factors that is transforming mapping in general
>>>is the big data revolution with lage new databases
>>>of all kinds becoming available via on line sytems
>>>
>>>one example of art projects is in the LEA gallery you
>>>have curated is
>>>
>>>'The Southern Ocean Studıes' by Baıly, Corby & Mackenzıe.
>>>
>>>http://www.flickr.com/photos/lea_gallery/
>>>
>>>Collage produced from multiple data outputs from Envisat radar
>>>imagery showing the distribution and extent of sea ice in the Southern
>>>Ocean
>>>The first three images are composites derived from Envisat satellite
>>>data tracking
>>> ice and ozone...
>>>
>>>an artist who has been exploring the transformation of data
>>>for decades is Thorbjorn Lausten
>>>
>>>http://on1.zkm.de/zkm/stories/storyReader$6136
>>>
>>>He had a large exhibit at ZKM in 2008:
>>>
>>>http://on1.zkm.de/zkm/stories/storyReader$6136
>>>
>>>he notes that making art from sensory data and from scientific
>>>instruments has deep differences:
>>>
>>>At the same time, there is a very real difference between whether
>>>images are based on
>>>sense data or instrumentally produced data because our sense organs
>>>function rather
>>>differently than instruments do, even if one cannot immediately see
>>>the difference. It is
>>> really a question of two essentially different modes of functioning
>>>and it is in this interaction
>>>â€" this interface â€" that one can say we are dealing with what has
>>>been
>>>called instrumental
>>>cognition, an understanding of which
>>> will bring a great deal of new knowledge but which, just as with any
>>>other knowledge, is
>>> - and becomes -representation.
>>>
>>>He cites thje work of Krzystof Pomian on " indirect cognition" and
>>>"instrumental cognition"
>>>
>>>"In the essay Vision and Cognition, Kryzstof Pomian gives a quick
>>>overview of the philosophical problems connected with perception and
>>>knowledge and thinks that ‘indirect cognition’ and ‘instrumental
>>>cognition’ are unavoidable concepts in the contemporary context. In
>>>Picturing Science: Producing Art, ed. Caroline A. Jones & Peter
>>>Galison (Routledge: New York/London, 1998)."
>>>
>>>two issues that then i think are crucial in this discussion of
>>>re-drawing boundaries are a) the
>>>recent new access to big data sources on our environnement, and b) the
>>>development of indirect or
>>>instrumental cognition over the past couple of centuries
>>>
>>>roger
>>>
>>>_______________________________________________
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>
>
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