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
What about other borders: of body, of identity, of art/science/technology ?
> 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
> 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
> he has curated is 'The Southern Ocean Studies' by Baily, Corby &
> Jeremy Hight has launched his exhibition Re-Drawing Boundaries with a
> of artists:
> General exhibition announcement:
> Teri Rueb:
> Jonah Brucker-Cohen
> To set up the framework in order to think about archival issues,
> of preservation of presence online, dissemination as well as keeping in
> 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
> 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
> 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
> 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
> 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 <email@example.com>
>> 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 StudÄ±es' by BaÄ±ly, Corby & MackenzÄ±e.
>> Collage produced from multiple data outputs from Envisat radar
>> imagery showing the distribution and extent of sea ice in the Southern
>> 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
>> He had a large exhibit at ZKM in 2008:
>> 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
>> 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 â˜indirect cognitionâ™ and â˜instrumental
>> cognitionâ™ 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
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> Yasmin_discussions mailing list
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Yasmin_discussions mailing list
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.