As a first time poster a quick introduction is in place. I am currently
doing a practice-based art PhD titled "Art from Synthetic Biology". It
entails an immersive laboratory practice working both independently and
alongside scientists. For the last couple of years, I have been practicing
hands on genetic engineering and synthetic biology using the MIT Registry of
Standard Biological Parts. For instance, I have engineered a genetic device
that allows visualisation of invisible processes such as super-oxidised
stress in bacteria and in so trace memories of growth.
I would like to comment on four aspects: the minimal genome, orthogonal
ribosomes, standardised parts and the Synth-ethic exhibition.
The idea of "the minimal genome" and circumventing 4.5 billion years of
evolution sounds dramatic but the base genome minimalised (from Mycoplasma
genitalium) is of 'natural' origin. It is, of course, 'artificial' through
manipulation (reduction), and more so in Craig Venter's use of a
computational language (e.g. 'booting' up the DNA inside an existing
organism or to paraphrase, "it's a bit like having sex with someone – and
when the whole thing is over, the other has become you").
Moving onto the Ortogonal Ribosome (OR), developed by a group at University
of Cambridge and presented at the Royal Society in London, the idea here is
to tap into the amber stop codon and integrate modified amino acids during
protein synthesis. To do this, a similar "booting" concept emerges, through
the creation of 'artificial' (or orthogonal) ribosomes able to fabricate
'unnatural' proteins. The upshot is an extended genetic code and a new
arsenal of proteins. Jason Chin, heading the group, reflected somewhat in
awe that it has only taken 10 years (since the beginning of modern synthetic
biology) to redraw a 4.5-billon years history of 'natural' building blocks.
Standardised genetic parts, like biobricks used in my own work, are less
dramatic and more like tinkering with electronics, but lets not be fooled in
think that wet and electronic processes are the same. Much work is needed to
regenerate or convert existing material qualified and quantified by
fundamental research into this standard (there are about 700 parts adhering
to the MIT biobrick standard). Also, the goal of having enough parts and
robotics-systems to develop wet devices using computers remains a remote
idea (even with current efforts).
Ten years is not a long time and I would be cautious about over-dramatising
the situation. Whilst conceptually hinting towards major applications,
synthetic biology should still be understood in terms of fundamental
research. Much effort is driven towards manipulation in silico rather than in
vitro with the final removal of human wet work. Understanding life as it
emerges under these conditions as artificial, returns us to the age-old
anthropocentric discussion of nature and man that continues to patronize
nature. Whilst the idea of the synthetic often has foreign and plastic
connotations, the synthesis or reprocessing uses existing matter. 'The
extended nature' works better for me, such as the production of
metalloproteins etc. made possible through OR. A question I would like to
pose is whether or not the shared dialectic between synthetic biology and
computational language is an attempt to diffuse ethical implications?
Finally, and to Jens, the Synth-ethics exhibition intrigues me. However, I
was hoping to also see works that not only loosely relate to synthetic
biology, specially, given the dramatic material argument launched on Bioart
(delineating it from traditional representation - except that which has a
synecdoche relation with bio matter). By capitalising on emerging
technologies too quickly, do we end up metaphorically mapping art works from
diverse areas onto a desired category? The exhibited works are interesting
and exciting. I would however like to pose a question: What artists out
there are currently developing a synthetic biology practice and what are
they producing? Whilst the 'Synthetic Aesthetic' network is geared at
bringing together artists/designer with scientists in synthetic biology, are
there other artists working directly with these processes?
I want to propose a future exhibition that would involve artworks that
actually employ synthetic biology and show living devices, perhaps we could
call it 'wet-devices' and use it as a platform to negotiate some of the
ethical dilemmas thrown up by synthetic biology (e.g. instrumentation and
industrialisation of life).
Best,
Howard Boland
Director of Artistic Engagement, c-lab.co.uk
On Fri, May 6, 2011 at 6:48 AM, <
yasmin_discussions-request@estia.media.uoa.gr> wrote:
> Send Yasmin_discussions mailing list submissions to
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> Today's Topics:
>
> 1. Re: names of censored contemporary living visual artists
> (ANNA HATZIYIANNAKI)
> 2. the File Room (Tamiko Thiel)
> 3. Fwd: names of censored contemporary living visual artists
> (roger malina)
> 4. Re: the File Room (Paul Hertz)
> 5. Fwd: Fwd: arts and sciences: re-drawing boundaries (roger malina)
> 6. arts and sciences: re-drawing boundaries (roger malina)
> 7. Re: arts and sciences: re-drawing boundaries (Lanfranco Aceti)
> 8. Re: arts and sciences: re-drawing boundaries (Annick Bureaud)
> 9. Re: arts and sciences: re-drawing boundaries (hight@34n118w.net)
> 10. Re: arts and sciences: re-drawing boundaries (Jenifer Wightman)
> 11. Fwd: censored artists discussions (roger malina)
> 12. Re: arts and sciences: re-drawing boundaries (Lanfranco Aceti)
> 13. Re: arts and sciences: re-drawing boundaries (bureaud@altern.org)
> 14. SYNTH-ETHIC - Art & Synthetic Biology in Vienna, opening 13th
> of may & Bio-Fiction Film Festival (jhauser@club-internet.fr)
>
>
> ----------------------------------------------------------------------
>
> Message: 1
> Date: Sun, 1 May 2011 12:50:33 +0100 (BST)
> From: ANNA HATZIYIANNAKI <annahatz01@yahoo.gr>
> Subject: Re: [Yasmin_discussions] names of censored contemporary
> living visual artists
> To: tamiko@alum.mit.edu, YASMIN DISCUSSIONS
> <yasmin_discussions@estia.media.uoa.gr>
> Message-ID: <546768.49574.qm@web26302.mail.ukl.yahoo.com>
> Content-Type: text/plain; charset=iso-8859-7
>
> Dear Tamiko,
> There was a very strange, maybe funny?case of censorship in Greece, in
> 2005, when a greek netartist, Dimitris Fotiou, was arrested because his
> netproject 'ILLEGAL MACHINES' was considered as a financial crime! My late
> companion Dimitris Skoufis and me, had to certify as specialists that?
> 'ILLEGAL MACHINES'?was an artwork and not a financial crime! You can find
> some references in rhizome.org
> http://rhizome.org/profiles/dimitrisskoufis/
> Do not try to communicate with artopos' webmaster, it was?Dimitris Skoufis
> (1953-2007), and currently the web site is simply on line. Thus, I can help
> you to contact the netartist Dimitris Fotiou if you are interested about the
> case.
> ?
> Best
> Anna Hatziyiannaki
> ?
>
>
> ANNA HATZIYIANNAKI
> Art Historian/New Media Curator
> 27 Kefallinias str. 11257
> Athens, Greece
> mob. 6945387483
> e-mail:annahatz01@yahoo.gr
>
> --- ???? ???., 29/04/11, ?/? Tamiko Thiel <tamiko@alum.mit.edu> ??????:
>
>
> ???: Tamiko Thiel <tamiko@alum.mit.edu>
> ????: [Yasmin_discussions] names of censored contemporary living visual
> artists
> ????: yasmin_discussions@estia.media.uoa.gr
> ??????????: ?????????, 29 ???????? 2011, 16:51
>
>
> Dear Yasminers,
>
> I am doing an augmented reality artwork on censored artists, to be shown at
> the Manifest.AR uninvited augmented reality intervention at the Venice
> Biennial.
>
> As the Venice Biennial is about contemporary visual arts I am focusing on
> contemporary, living visual artists.
>
> Of course the most recent, widely publicized example is Ai Weiwei, and the
> list can be incredibly long - I will have to make a small selection of
> around 10. I am curious to query the Yasmin list for your viewpoint, and
> will be querying Faces as well (apologies for cross-posting!)
>
> What would be your "top ten"?
>
> take care, Tamiko
>
> -- --------------------------------------------------------
> Tamiko Thiel???tamiko@alum.mit.edu
>
> ???Media Artist
> ???http://www.mission-base.com/tamiko/
>
> ???Manifest.AR Augmented Reality Artist Group
> ???http://www.manifestar.info/
>
> ???Upgrade! Munich
> ???A node of Upgrade! International media artist network
> ???http://upgrade.reframes.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
>
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>
>
> ------------------------------
>
> Message: 2
> Date: Sat, 30 Apr 2011 22:22:06 +0200
> From: Tamiko Thiel <tamiko@alum.mit.edu>
> Subject: [Yasmin_discussions] the File Room
> To: yasmin_discussions@estia.media.uoa.gr
> Message-ID: <4DBC6F6E.2000400@alum.mit.edu>
> Content-Type: text/plain; charset=ISO-8859-1; format=flowed
>
> Am 30.04.2011 20:56, schrieb Paul Hertz:
> > I would suggest that the File Room is a good place to look, though
> many of the notable cases were entered in the 1990s when it was first
> put online: http://www.thefileroom.org/
> >
> > -- Paul
>
>
> Dear Paul,
>
> I get the feeling there is a lot of good information in The File Room,
> but it's incredibly hard to look through - one has to click on each link
> individually, working methodically through various trees, and it's hard
> to get an overview. Strange also that there is no listing by artist, or
> that you can't search for "women painters in Africa." I guess it is not
> really a database in a contemporary sense.
>
> Do you know of anything online that is more flexible? Several people on
> another list have mentioned The File Room to me, but no one has
> mentioned anything else.
>
> Thanks - Tamiko
>
>
>
>
>
> ------------------------------
>
> Message: 3
> Date: Sun, 1 May 2011 20:56:18 +0200
> From: roger malina <rmalina@alum.mit.edu>
> Subject: [Yasmin_discussions] Fwd: names of censored contemporary
> living visual artists
> To: YASMIN DISCUSSIONS <Yasmin_discussions@estia.media.uoa.gr>
> Message-ID: <BANLkTimxO5ZYwcfCAzrze-kp7JLpFoVWYA@mail.gmail.com>
> Content-Type: text/plain; charset=ISO-8859-7
>
> tamiko
>
> i know your uninvited intervention at Venice concerns
> living artists- but i thought i would re post at item
> i posted on the next step publishing discussion
> concerning detecting censorship by analysis of
> large data sets of digitised texts
>
> roger
>
> 'Culturnomics", or the analysis of digital data to
> analyse cultural developmentsthe most recent example of this work is
> of Jean Baptise
> Michel and team who analysed 5 million digitised booksScience Journal
> 14 jan 2011 vol 331
> p176
>
> http://www.sciencemag.org/content/early/2010/12/15/science.1199644
>
> Michel also looks at how one can by analysing the dissapearance
> of terms find evidence for censorship - for instance the artist
> marc chagall was on the forbidden list for the Nazis, and his
> name disappeared from german literature, at the same time
> as his name grew in reputation in the english speaking literaturethey point
> out that one can analyse current on line data to
> detect evidence of hidden censorship
>
>
> roger malina
>
> here is a quote from his article
>
> Detecting Censorship and Suppression
>
> Suppression - of a person, or an idea - leaves quantifiable
> fingerprints (25). For instance, Nazi censorship of the Jewish
> artist Marc Chagall is evident by comparing the frequency of
> "Marc Chagall" in English and in German books (Fig.4A). In
> both languages, there is a rapid ascent starting in the late
> 1910s (when Chagall was in his early 30s). In English, the
> ascent continues. But in German, the artist's popularity
> decreases, reaching a nadir from 1936-1944, when his full
> name appears only once. (In contrast, from 1946-1954, "Marc
> Chagall" appears nearly 100 times in the German corpus.)
> Such examples are found in many countries, including Russia
> (e.g. Trotsky), China (Tiananmen Square) and the US (the
> Hollywood Ten, blacklisted in 1947) (Fig.4B-D).
>
> We probed the impact of censorship on a person's cultural
> influence in Nazi Germany. Led by such figures as the
> librarian Wolfgang Hermann, the Nazis created lists of
> authors and artists whose "undesirable", "degenerate" work
> was banned from libraries and museums and publicly burned
> (26-28). We plotted median usage in German for five such
> lists: artists (100 names), as well as writers of Literature
> (147), Politics (117), History (53), and Philosophy (35) (Fig
> 4E). We also included a collection of Nazi party members
> [547 names, ref (7)]. The five suppressed groups exhibited a
> decline. This decline was modest for writers of history (9%)
> and literature (27%), but pronounced in politics (60%),
> philosophy (76%), and art (56%). The only group whose
> signal increased during the Third Reich was the Nazi party
> members [a 500% increase; ref (7)].
> Given such strong signals, we tested whether one could
> identify victims of Nazi repression de novo. We computed a
> "suppression index" s for each person by dividing their
> frequency from 1933 - 1945 by the mean frequency in 1925-
> 1933 and in 1955-1965 (Fig.4F, Inset). In English, the
> distribution of suppression indices is tightly centered around
> unity. Fewer than 1% of individuals lie at the extremes (s<1/5
> or s>5).
>
> In German, the distribution in much wider, and skewed
> leftward: suppression in Nazi Germany was not the
> exception, but the rule (Fig. 4F). At the far left, 9.8% of
> individuals showed strong suppression (s<1/5). This
> population is highly enriched for documented victims of
> repression, such as Pablo Picasso (s=0.12), the Bauhaus
> architect Walter Gropius (s=0.16), and Hermann Maas
> (s<.01), an influential Protestant Minister who helped many
> Jews flee (7). (Maas was later recognized by Israel's Yad
> Vashem as a "Righteous Among the Nations.") At the other
> extreme, 1.5% of the population exhibited a dramatic rise
> (s>5). This subpopulation is highly enriched for Nazis and
> Nazi-supporters, who benefited immensely from government
> propaganda (7).
>
> These results provide a strategy for rapidly identifying
> likely victims of censorship from a large pool of possibilities,
> and highlights how culturomic methods might complement
> existing historical approaches.
>
>
> roger
>
> ???: Tamiko Thiel <tamiko@alum.mit.edu>
> ????: [Yasmin_discussions] names of censored contemporary living visual
> artists
> ????: yasmin_discussions@estia.media.uoa.gr
> ??????????: ?????????, 29 ???????? 2011, 16:51
>
>
> Dear Yasminers,
>
> I am doing an augmented reality artwork on censored artists, to be
> shown at the Manifest.AR uninvited augmented reality intervention at
> the Venice Biennial.
>
> As the Venice Biennial is about contemporary visual arts I am focusing
> on contemporary, living visual artists.
>
> Of course the most recent, widely publicized example is Ai Weiwei, and
> the list can be incredibly long - I will have to make a small
> selection of around 10. I am curious to query the Yasmin list for your
> viewpoint, and will be querying Faces as well (apologies for
> cross-posting!)
>
> What would be your "top ten"?
>
> take care, Tamiko
>
> -- --------------------------------------------------------
> Tamiko Thiel tamiko@alum.mit.edu
>
> Media Artist
> http://www.mission-base.com/tamiko/
>
> Manifest.AR Augmented Reality Artist Group
> http://www.manifestar.info/
>
> Upgrade! Munich
> A node of Upgrade! International media artist network
> http://upgrade.reframes.com/
> --------------------------------------------------------
> _______________________________________________
> Ya
>
>
>
> ------------------------------
>
> Message: 4
> Date: Sun, 1 May 2011 19:50:01 -0500
> From: Paul Hertz <ignotus@gmail.com>
> Subject: Re: [Yasmin_discussions] the File Room
> To: tamiko@alum.mit.edu, YASMIN DISCUSSIONS
> <yasmin_discussions@estia.media.uoa.gr>
> Message-ID: <BANLkTi==CAJCD-tLvWB5eC1xxTRNwq4PSw@mail.gmail.com>
> Content-Type: text/plain; charset=ISO-8859-1
>
> Dear Tamiko,
>
> The File Room is full of information but the interface always was creaky. I
> was involved in the project in its early days, and can testify that it
> simply never received the kind of funding necessary to upgrade the
> interface
> in particular and the software in general. It started out with the earliest
> visual web client, Mosaic, and little thought of how it might acquire lots
> of information and need a more robust database access, and has changed
> little since then.
>
> EFF (Electronic Freedom Foundation) maintains a database of some cultural
> censorship issues. I have my own archives from back in the late 80s and 90s
> when I was heavily involved in censorship issues. I will dig through them
> and recommend a few possibilities for you, but it may take until Tuesday (I
> have some proposals to send off). I should also have a few more links for
> you, possibly before Tuesday.
>
> best,
>
> -- Paul
>
>
>
>
> On Sat, Apr 30, 2011 at 3:22 PM, Tamiko Thiel <tamiko@alum.mit.edu> wrote:
>
> > Am 30.04.2011 20:56, schrieb Paul Hertz:
> > > I would suggest that the File Room is a good place to look, though many
> > of the notable cases were entered in the 1990s when it was first put
> online:
> > http://www.thefileroom.org/
> > >
> > > -- Paul
> >
> >
> > Dear Paul,
> >
> > I get the feeling there is a lot of good information in The File Room,
> but
> > it's incredibly hard to look through - one has to click on each link
> > individually, working methodically through various trees, and it's hard
> to
> > get an overview. Strange also that there is no listing by artist, or that
> > you can't search for "women painters in Africa." I guess it is not really
> a
> > database in a contemporary sense.
> >
> > Do you know of anything online that is more flexible? Several people on
> > another list have mentioned The File Room to me, but no one has mentioned
> > anything else.
> >
> > Thanks - Tamiko
> >
> >
> >
> > _______________________________________________
> > 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.
> >
>
>
>
> --
> ----- |(*,+,#,=)(#,=,*,+)(=,#,+,*)(+,*,=,#)| ---
> http://ignotus.com
>
>
> ------------------------------
>
> Message: 5
> Date: Mon, 2 May 2011 08:21:00 +0200
> From: roger malina <rmalina@alum.mit.edu>
> Subject: [Yasmin_discussions] Fwd: Fwd: arts and sciences: re-drawing
> boundaries
> To: YASMIN DISCUSSIONS <Yasmin_discussions@estia.media.uoa.gr>
> Message-ID: <BANLkTimgo-L6XR+jZKGE8kUJG1Ef39JFyA@mail.gmail.com>
> Content-Type: text/plain; charset=ISO-8859-1
>
> From: <hight@34n118w.net>
>
> I am very excited to begin this Yasmin discussion. The show has just begun
> and will run for 15 weeks with new artists in pairs each week. The artists
> are in new media, new media narrative,locative media, mapping or
> cartographic art and experimental cartography. The show looks at space,
> measure, data, and also the boundaries we so often place between fields of
> art. I am thrilled that Roger has begun this discussion and look forward
> to an interesting shared conversation
>
> best,
>
> Jeremy
>
>
> >
> >
> http://www.facebook.com/home.php?#!/pages/Leonardo-Electronic-Almanac/209156896252
> >
> > Curator: Jeremy Hight Senior Curators: Lanfranco Aceti and Christiane
> Paul
> >
> > This exhibition presents key innovators in Locative Media, New Media and
> > ?Mapping in a show that works to display not only fields and works but
> > more
> > ?of cross pollinations, progressions, the need to move beyond labels just
> > ?like the importance of reconsidering borders on maps, what space is and
> > ?what pragmatic tools and previous forms can do.
> >
> > ?The selected artists are:
> >
> >> Kate Armstrong, Alan Bigelow, Louisa Bufardeci, Laura Beloff, J.R
> >> Carpenter, Jonah Brucker Cohen, Vuk Cosic, Fallen Fruit, Luka Frelih,
> >> Buckminster Fuller, Rolf Van Gelder, Natalie Jeremijenko, Carmin
> >> Kurasic,
> >> Paula Levine, Mez, Lize Mogel, Jason Nelson, Christian Nold, Esther
> >> Polak,
> >> Proboscis, Kate Pullinger, Carlo Ratti, Douglas Repetto, Teri Rueb,
> >> Stanza, Jen Southern, Kai Syng Tan, Jeffrey Valance, Sarah Willams,
> >> Jeremy
> >> Wood, Tim Wright.
> >
> > ?Follow LEA on: Facebook
> > ?
> http://www.facebook.com/home.php?#!/pages/Leonardo-Electronic-Almanac/209156896252
> >
> > Flickr: ?http://www.flickr.com/photos/lea_gallery
> >
> > Twitter: ?http://twitter.com/LEA_twitts
> >
> > YouTube: ?http://www.youtube.com/user/LEAbroadcast
> >
> > Vimeo: http://www.vimeo.com/leagallery
> >
> > Follow the discussion on the YASMIN BLOG:
> >
> > http://yasminlist.blogspot.com/
> >
> >
>
>
>
> ------------------------------
>
> Message: 6
> Date: Mon, 2 May 2011 10:49:32 +0200
> From: roger malina <rmalina@alum.mit.edu>
> Subject: [Yasmin_discussions] arts and sciences: re-drawing boundaries
> To: YASMIN DISCUSSIONS <Yasmin_discussions@estia.media.uoa.gr>
> Message-ID: <BANLkTim-q9ftRxHX_cNBMbiHEAuH27ymLQ@mail.gmail.com>
> Content-Type: text/plain; charset=UTF-8
>
> 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 Stud?es' by Ba?ly, Corby & Mackenz?e.
>
> 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
> ? this interface ? 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
>
>
>
> ------------------------------
>
> Message: 7
> Date: Mon, 2 May 2011 12:28:45 +0300
> From: Lanfranco Aceti <lanfranco.aceti@gmail.com>
> Subject: Re: [Yasmin_discussions] arts and sciences: re-drawing
> boundaries
> To: YASMIN DISCUSSIONS <yasmin_discussions@estia.media.uoa.gr>
> Message-ID: <BANLkTikfnTzH0UyCyAivnPnh1pRNJxmWTA@mail.gmail.com>
> Content-Type: text/plain; charset=UTF-8
>
> 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_exhibition/
> Teri Rueb:
>
> http://www.leoalmanac.org/index.php/lea/exhibition/lea_new_media_exhibition_interview_with_teri_rueb/
> Jonah Brucker-Cohen
>
> http://www.leoalmanac.org/index.php/lea/exhibition/lea_new_media_exhibition1/
>
> 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 Stud?es' by Ba?ly, Corby & Mackenz?e.
> >
> > 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
> > ? this interface ? 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
> >
> > _______________________________________________
> > 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.
> >
>
>
> ------------------------------
>
> Message: 8
> Date: Mon, 02 May 2011 22:57:08 +0200
> From: Annick Bureaud <bureaud@altern.org>
> Subject: Re: [Yasmin_discussions] arts and sciences: re-drawing
> boundaries
> To: YASMIN DISCUSSIONS <yasmin_discussions@estia.media.uoa.gr>
> Message-ID: <4DBF1AA4.7090209@altern.org>
> Content-Type: text/plain; charset=UTF-8; format=flowed
>
> Dear Lanfranco,
>
> I have been very happy to read the following lines that you
> wrote describing your process with LEA as I think it is a
> crucial issue currently :
>
> > 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.
> >
> > 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.
>
>
> In the digital community, there have been many discourses
> about the re-materialisation after so many years of
> de-materialisation. And I have taken my part in those
> discourses. At the same time, we are witnessing recently the
> "return of the screen" and screen-based works, projects and
> exhibitions of which LEA is part.
>
> Exhibitions and artworks moving from physical spaces to
> screen spaces and vice versa is a very interesting approach
> as it would mean the malleability of both the works and the
> spaces.
>
> However I would like to raise the issue of what do we call
> an exhibition as opposed to documentation, to publication :
>
> => What is showing on LEA a video of a sound installation ?
> Is it what we used to call "exhibition" ? or what we used to
> call "documentation" (archiving) ? what the catalogues were
> for ?
>
> => how do you appreciate, as a viewer/audience, a work
> online/on screen that DOES have (that is based on, that is
> mainly) a physical component that is an installation ? It
> cannot be the same experience. Can you say then that the
> exhibition and the documentation can be labelled with the
> same word "exhibition" ?
>
> => what are those new modes, in-between
> exhibition-documentation-publication ? and to stick with the
> topic, how the previous boundaries are evolving ?
>
> => How do you conceive or design projects that can be
> transfered from the virtual to the real and vice versa ?
>
> Those are issues and topics that I am currently researching
> and discussing and that I am really interested in.
>
>
> Best
> Annick
>
> --
>
> ------------------------
> Annick Bureaud (abureaud@gmail.com)
> tel: 33/(0)1 43 20 92 23
> mobile/cell : 33/(0)6 86 77 65 76
> Leonardo/Olats : http://www.olats.org
> Web : http://www.annickbureaud.net
> -------------------------
>
>
>
>
> ------------------------------
>
> Message: 9
> Date: Mon, 2 May 2011 14:26:29 -0700
> From: hight@34n118w.net
> Subject: Re: [Yasmin_discussions] arts and sciences: re-drawing
> boundaries
> To: yasmin_discussions@estia.media.uoa.gr
> Message-ID:
> <360d2705c82bc9d66b8c3487e4570dff.squirrel@webmail.34n118w.net>
> Content-Type: text/plain;charset=iso-8859-1
>
> 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_exhibition/
> > Teri Rueb:
> >
> http://www.leoalmanac.org/index.php/lea/exhibition/lea_new_media_exhibition_interview_with_teri_rueb/
> > Jonah Brucker-Cohen
> >
> http://www.leoalmanac.org/index.php/lea/exhibition/lea_new_media_exhibition1/
> >
> > 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 Stud??es' by Ba??ly, Corby & Mackenz??e.
> >>
> >> 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
> >> ??? this interface ??? 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
> >>
> >> _______________________________________________
> >> 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.
> >>
> > _______________________________________________
> > 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.
>
>
>
>
>
> ------------------------------
>
> Message: 10
> Date: Tue, 3 May 2011 08:43:39 -0400
> From: Jenifer Wightman <jenifer.wightman@cornell.edu>
> Subject: Re: [Yasmin_discussions] arts and sciences: re-drawing
> boundaries
> To: YASMIN DISCUSSIONS <yasmin_discussions@estia.media.uoa.gr>
> Message-ID: <C9E56F70.DCD0%jw93@cornell.edu>
> Content-Type: text/plain; charset="utf-8"
>
> How about brain mapping of space and thinking topography.
> 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 Stud??es' by Ba??ly, Corby & Mackenz??e.
> >>>
> >>>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
> >>>??? this interface ??? 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
> >>>
> >>>_______________________________________________
> >>>Yasmin_discussions mailing list
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> ------------------------------
>
> Message: 11
> Date: Tue, 3 May 2011 16:01:06 +0200
> From: roger malina <rmalina@alum.mit.edu>
> Subject: [Yasmin_discussions] Fwd: censored artists discussions
> To: YASMIN DISCUSSIONS <Yasmin_discussions@estia.media.uoa.gr>
> Message-ID: <BANLkTinGrw_rQXRkxQumNMRGZP9uWQHmSg@mail.gmail.com>
> Content-Type: text/plain; charset=ISO-8859-1
>
> yasminers
>
> in the interest of focusing our yasmin discussion for the next two
> weeks on the - re drawing borders discussion, we are asking
> people who want to feed back to tamiko thiel on the censored
> artists discussion directly
>
> we can come back to tamiko's discussion on yasmin list
> in two weeks
>
> her email is : <tamiko@alum.mit.edu>,
>
> roger
>
> Tamiko Thiel a ?crit :
> > Dear Yasminers,
> >
> > I am doing an augmented reality artwork on censored artists, to be
> > shown at the Manifest.AR uninvited augmented reality intervention at
> > the Venice Biennial.
> >
> > As the Venice Biennial is about contemporary visual arts I am focusing
> > on contemporary, living visual artists.
> >
> > Of course the most recent, widely publicized example is Ai Weiwei, and
> > the list can be incredibly long - I will have to make a small
> > selection of around 10. I am curious to query the Yasmin list for your
> > viewpoint, and will be querying Faces as well (apologies for
> > cross-posting!)
> >
> > What would be your "top ten"?
> >
> > take care, Tamiko
> >
>
>
>
> ------------------------------
>
> Message: 12
> Date: Tue, 3 May 2011 10:17:46 +0300
> From: Lanfranco Aceti <lanfranco.aceti@gmail.com>
> Subject: Re: [Yasmin_discussions] arts and sciences: re-drawing
> boundaries
> To: bureaud@altern.org, YASMIN DISCUSSIONS
> <yasmin_discussions@estia.media.uoa.gr>
> Message-ID: <BANLkTingAnWxbov7BOpqwW7B0BtaCi=ezg@mail.gmail.com>
> Content-Type: text/plain; charset=ISO-8859-1
>
> Dear Annick,
>
> Regarding the movement between real and virtual - I am happy to say that
> beside scheduling an exhibition here in Istanbul at Kasa Gallery (we are
> re-launching its web presence as part of ISEA2011 Istanbul) we are now in
> discussions to showcase the whole exhibition Re-Drawing Boundaries in
> Singapore.
>
> I believe that this is important for the artists in order to have increased
> visibility and opportunities of building new connections but also for the
> galleries themselves - that in this way are able to generate synergies and
> promote higher quality shows in a difficult economic climate.
>
> Regarding your specific questions:
>
> => What is showing on LEA a video of a sound installation ? Is it what we
> used to call "exhibition" ? or what we used to call "documentation"
> (archiving) ? what the catalogues were for ?
>
> L. Perhaps to this question I would say that it is both at the same time. I
> don't think that old and traditional categories of 'exhibiting' and
> 'documenting' apply any longer. Years ago I was exhibiting my work in a
> show
> under the aegis of Frieze - and the outcome all of the installation work
> were photographs and videos 'documenting' the coming to existence and the
> destruction of the artworks themselves. At that time one of my major
> question was the difference - if there was any - between artwork and
> documentation since in the end it is the personal conceptual aesthetic
> perception of the artistic with its whimsical or logical approaches that
> decides what of the multiple possible outcomes is art. In the case of those
> artworks the documentation itself was the artwork - (there were many
> reasons
> for this including the logistics of not wanting to store the artworks but
> also more profound conceptual approaches looking at the processes of
> materialization and rematerialization of artworks across media).
>
> What I wanted to do with the LEA exhibitions online was to have a proper
> show - believe me you when I say that the Internet medium is not conducive
> (Jeremy Hight, Vince Dziekan and myself experience this several times) -
> keeping in mind consistency and scholarship throughout as if it were a
> proper exhibition but also a proper catalog.
>
> The beauty of the medium I found is that it allows to blur these boundaries
> - to be at the same time exhibition, catalog and archive and to leave to
> the
> viewer the perception of its structures favoring one over the other.
>
> We have received many emails looking at these projects from all three
> angles
> and in the end perhaps the most important signals of success beside the
> strict audience reception of likes and dislikes - are the opportunities for
> the artists to showcase and exhibit somewhere else as well as leaving the
> archived traces of the artwork/documentation of what is happened.
>
> I would like to raise two other points that I believe your important
> question raises in my mind:
>
> a) the exhibition pages and all their dissemination and visibility
> structures could be defined as artworks in themselves - Neural (
> http://www.Neural.it ) has been defined by some media critics an artwork
> in
> itself and this definition for what should be traditionally considered an
> online/print magazine is an interesting definition.
>
> b) the other element that I would raise is perhaps the economic. I think
> that if we are talking of catalogs and documentation the economic element
> is
> what underpinned the documentation of collection of artworks mainly for
> auctions. I believe that particularly in these days in which the Internet
> is
> 'maturing' exhibitions and online activities have to fund legitimacy also
> in
> economic terms - otherwise I believe we will do a disservice to the artists
> and the artistic aesthetics that we are trying to promote. I am starting to
> think and work around this particular issue now and I hope to implement and
> present some new approaches soon.
>
> => how do you appreciate, as a viewer/audience, a work online/on screen
> that
> DOES have (that is based on, that is mainly) a physical component that is
> an
> installation ? It cannot be the same experience. Can you say then that the
> exhibition and the documentation can be labelled with the same word
> "exhibition" ?
>
> My answer to the second part of your question here - following all that I
> have written must be yes. I am someone that believes in transculturalism
> and
> transmediation - so even if online an exhibition presented as such is an
> exhibition.
>
> Then we have to discuss in methodological terms if the 'transmediation' was
> effectual or ineffectual. I look at it as a process of translation from one
> language to another - from one medium to another - from one space to the
> next. I like to work closely with the artists and you will be surprised of
> how much pain we have to go through in order to ensure that their 'vision'
> matches somehow or negotiates with the restrictions of the online medium
> and
> the social networking platforms.
>
> I look at the transfer from one space to the next in the same way in which
> an artist I believe should look at the transfer of a sculpture from New
> York, to Paris, from Paris to Istanbul, from Istanbul to Tokyo. The choice
> of space, positioning, lighting, colors, smells, all become part of a new
> re-definition of the artworks and its engagements with the surrounding
> spaces.
>
> In this sense is the artist that has an input in deciding how to
> 'transmediate' the artworks or asks to work with somebody who has that
> expertise (be it a videographer, a curator or a coder). At times the
> creation of the 'online piece' may be so distant from the original piece
> that solely a 'loose inspiration' connects it to it. At other times you
> have attempt to create a perfect (or as close as possible) re-production
> on-line of the different elements that are at the basis of the physical
> object and the surrounding space.
>
> => what are those new modes, in-between
> exhibition-documentation-publication
> ? and to stick with the topic, how the previous boundaries are evolving ?
>
> I wrote an article in a journal called collections just about this problem
> -
> almost two years ago. It was inspired by the archival process and
> recontextualization of a collection of digital media. My problem with it
> was
> the like of new media in the representation of the work. What I mean is
> that
> everything was being reduced to 'prints'.
> Not only that - but the archival methodologies themselves I found them to
> be
> not considering the context of production - the digital environment. I
> would
> have preferred a strong contribution to the curatorial approach from the
> community itself.
> Although some things have to be said at times about the fact that the
> community's interactions are mainly fast and furious...
>
> So my guess is that the previous boundaries are altering modalities of
> 'institutional belonging', necessity of 'curatorial' approval,... my
> analysis is that the branding upon which most institutions relay in order
> to
> present the validity of this work or that work, of that artist or the
> other,
> will somewhat decrease with an increased contribution by community
> selections and approval with artworks and artists emerging bottom up and
> not
> top down.
>
> This is perhaps the major social change that I envisage the re-drawing of
> social boundaries and social hierarchies. This is why for example LEA is
> supporting the artwork of Tamiko Thiel
>
> http://www.leoalmanac.org/index.php/lea/entry/cyber-animism_and_augmented_dreams/
>
>
> => How do you conceive or design projects that can be transfered from the
> virtual to the real and vice versa ?
>
> Generally speaking there has to be a collaborative understanding. At LEA we
> are too few in juggling the platforms while doing too many other jobs to be
> able to 'persuade' riotous partners. Generally speaking are artists that
> approach us and ask if we can work with them.
>
> Then it starts a process of selection (very painful for us because I would
> always like to do everything) and we discuss it internally and then let the
> curators and artists do their magic. I am surprised in a way at the
> interest
> in visibility and dissemination through social platforms. We are already
> all
> booked for 2012 in regards to the Digital Media Exhibitions (the ones
> disseminated via facebook, twitter, flickr, etc.).
>
> Regarding what the major issues that we consider are the following:
> Artist's proposal
> Artist's understanding of threats and opportunities
> Artist's commitment to the project
>
> Then we start the discussions regarding what spaces we have and how we are
> going to 'frame' the work.
> That is the moment in which the budget comes in bringing with it a reality
> check.
>
> For me the most important thing is the willingness of the artist to 'adapt
> and transform' the artwork in relationship to the surrounding space and
> cultural influences. It is the process of translation of which we were
> talking before.
>
> I am trying to plan for example for an artwork with Judit Ersko here in
> Istanbul in 2012.
>
> http://www.leoalmanac.org/index.php//lea/entry/lea_recent_and_upcoming_exhibitions
> it is in a way a follow up to the online exhibition but there will also be
> a
> new artwork as a garden installation
>
> http://www.facebook.com/media/set/fbx/?set=a.10150147769611253.346156.209156896252
>
> So the difficulties we are facing here are several:
> a) relating the previous online show to the physical space
> b) linking the new piece which is an outdoor piece in a different location
> to the internal pieces in the gallery
> c) transferring the new artwork in an online presence
> d) consider how the new context will affect the artwork itself and its
> development
>
> My personal response probably to your question in short is - we do this
> with
> a lot of sensitivity from both parts. It is like a date each time with many
> unknowns and only one certainty that both the artists and us are trying to
> do a good job.
>
>
> On Mon, May 2, 2011 at 11:57 PM, Annick Bureaud <bureaud@altern.org>
> wrote:
>
> > Dear Lanfranco,
> >
> > I have been very happy to read the following lines that you wrote
> > describing your process with LEA as I think it is a crucial issue
> currently
> > :
> >
> > 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.
> >>
> >> 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.
> >>
> >
> >
> > In the digital community, there have been many discourses about the
> > re-materialisation after so many years of de-materialisation. And I have
> > taken my part in those discourses. At the same time, we are witnessing
> > recently the "return of the screen" and screen-based works, projects and
> > exhibitions of which LEA is part.
> >
> > Exhibitions and artworks moving from physical spaces to screen spaces and
> > vice versa is a very interesting approach as it would mean the
> malleability
> > of both the works and the spaces.
> >
> > However I would like to raise the issue of what do we call an exhibition
> as
> > opposed to documentation, to publication :
> >
> > => What is showing on LEA a video of a sound installation ? Is it what we
> > used to call "exhibition" ? or what we used to call "documentation"
> > (archiving) ? what the catalogues were for ?
> >
> > => how do you appreciate, as a viewer/audience, a work online/on screen
> > that DOES have (that is based on, that is mainly) a physical component
> that
> > is an installation ? It cannot be the same experience. Can you say then
> that
> > the exhibition and the documentation can be labelled with the same word
> > "exhibition" ?
> >
> > => what are those new modes, in-between
> > exhibition-documentation-publication ? and to stick with the topic, how
> the
> > previous boundaries are evolving ?
> >
> > => How do you conceive or design projects that can be transfered from the
> > virtual to the real and vice versa ?
> >
> > Those are issues and topics that I am currently researching and
> discussing
> > and that I am really interested in.
> >
> >
> > Best
> > Annick
> >
> > --
> >
> > ------------------------
> > Annick Bureaud (abureaud@gmail.com)
> > tel: 33/(0)1 43 20 92 23
> > mobile/cell : 33/(0)6 86 77 65 76
> > Leonardo/Olats : http://www.olats.org
> > Web : http://www.annickbureaud.net
> > -------------------------
> >
> >
> >
> > _______________________________________________
> > 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.
> >
>
>
> ------------------------------
>
> Message: 13
> Date: Wed, 4 May 2011 11:29:50 +0200 (CEST)
> From: bureaud@altern.org
> Subject: Re: [Yasmin_discussions] arts and sciences: re-drawing
> boundaries
> To: "YASMIN DISCUSSIONS" <yasmin_discussions@estia.media.uoa.gr>
> Message-ID: <16411.82.247.141.248.1304501390.squirrel@altern.org>
> Content-Type: text/plain;charset=iso-8859-1
>
> Dear Lanfranco
>
> Thank you for the long answer to my questions and the in-depth description
> of your actions, achievements and plans with LEA.
>
> What you are describing as the process with the artists looks to me ...
> the usual curatorial process with artists that are alive (= not dead), who
> are creating a new work that, as a curator, you are supporting. I don't
> see any difference or specificity here and it is exactly the kind of
> things I am doing when I curate a show.
>
> You write : "I don't think that old and traditional categories of
> 'exhibiting' and 'documenting' apply any longer."
>
> I do not agree with that statement. I agree that some of the boundaries
> are bluring or are elsewhere than where they were before, but I do think
> there is a difference between let say Edunia or Alba by Eduardo Kac and
> the documentation about those works. Likewise, there is a difference
> between a performance and the documentation about the performance. Those
> categories disappears only for some kind of
> digital-new-media-technoscience-artworks, not all of them. Hence
> remediation or transmediation do not apply on an equal basis for all "new
> media" artworks.
>
> But I totally agree when you write that : "The beauty of the medium
> (Internet) I found is that it allows to blur these boundaries - to be at
> the same time exhibition, catalog and archive and to leave to the viewer
> the perception of its structures favoring one over the other."
>
> About the other points you are raising :
>
> You write :
> "a) the exhibition pages and all their dissemination and visibility
> structures could be defined as artworks in themselves"
> This reminds me of the heated debate in the contemporay art field of the
> (physical) exhibition being the creation and the curators being (almost)
> artists (and sometimes considering themselves as more important than the
> artists and artworks themselves). Are we bringing to the
> digital-technosciences field this debate ?
> My point of view here, is that curating a show is also "designing" the
> presentation of the works (in French we say "scenographie" like "stage
> design") and this has been often (not always) not fully addressed online :
> the content was considered as what mattered. I think now, what Neural, You
> and others are doing is adressing the issue of how to design online
> exhibitions that are more than a list of links.
>
> About transmediation : I don't think it is exactly the same as moving a
> sculpture from one physical space to another. And I don't believe in the
> same possible experience for the audience in different media (or why would
> you bother to build the physical thing when the concept would be enough
> ?). All works are not equal in this process.
> I also think that we should be carefull with an "all-screen" domination
> that will solve all issues. But don't get me wrong, those issues are
> exciting, doing it well is a real challenge that I am trying to achieve.
>
> About your project with Judit Hersko, you write :
> "So the difficulties we are facing here are several:
> a) relating the previous online show to the physical space
> b) linking the new piece which is an outdoor piece in a different location
> to the internal pieces in the gallery
> c) transferring the new artwork in an online presence
> d) consider how the new context will affect the artwork itself and its
> development"
>
> This is exactly the agenda ! And it could be the program of a nice
> conference or workshop ;-) Is there anything planed at ISEA around this ?
>
> There would be much to write about your long email but I suspect I should
> stop here or the moderator is not going to approve my post !
>
> Best
> Annick
>
>
>
>
>
> ------------------------------
>
> Message: 14
> Date: 5 May 2011 23:44:26 +0200
> From: jhauser@club-internet.fr
> Subject: [Yasmin_discussions] SYNTH-ETHIC - Art & Synthetic Biology in
> Vienna, opening 13th of may & Bio-Fiction Film Festival
> To: yasmin_announcements@estia.media.uoa.gr
> Cc: yasmin_discussions@estia.media.uoa.gr
> Message-ID: <F57CE74F-21AD-42EE-8A5F-F59DB370E6B6@club-internet.fr>
> Content-Type: text/plain; charset=WINDOWS-1252; format=flowed;
> delsp=yes
>
> Dear Yasminers,
>
> if you are in or near Vienna/Austria next week, you may be interested
> in joining us for the opening of
>
> SYNTH-ETHIC, an exhibition that presents art works related to the new
> field of Synthetic Biology and its historical and epistemological roots,
>
> on Friday 13th of May at 7 pm at the Natural History Museum Vienna.
> The exhibition runs from May 14 to June 26.
>
> With works by Rachel Armstrong, Art Orient? objet (Marion Laval-
> Jeantet & Beno?t 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);
> curated by Jens Hauser.
>
> While artists increasingly use biotechnologies in order to manipulate
> living systems, the new field of Synthetic Biology aims at applying
> engineering principles to biology, so to not only modify but to build
> up ?life? from scratch. In SYNTH-ETHIC, artists question not only this
> new technological dimension and its deriving ethical stance but also
> the very notion of the "synthetic". Their works explore the areas of
> tension between molecular biology and ecology, architecture and
> biochemistry, cybernetics and alchemy.
>
> http://www.biofaction.com/?page_id=105
>
> http://www.biofaction.com/synth-ethic/?cat=1#about-synth-ethic
>
> http://www.biofaction.com/synth-ethic/
>
>
>
> http://www.nhm-wien.ac.at:80/en/exhibitions?detail_so=yes&sfe=vorschau&tid=1294905097003
>
> For joining the opening, please make your reservation: info@nhm-wien.ac.at
> or reservation@bio-fiction.com
>
> This exhibition runs in parallel to the BIO:FICTION science, art and
> film festival and to its related conference programme on 13th and 14th
> of May, at the Natural History Museum Vienna.
>
> http://bio-fiction.com
>
>
> http://www.nhm-wien.ac.at:80/en/exhibitions?detail_so=yes&sfe=vorschau&tid=1297767759169
>
> The Science, Art and Film Festival Bio:Fiction is an interdisciplinary
> event and presents the first synthetic biology film festival to which
> 130 films from 25 countries were submitted. Winners will be announced
> during the BIO:FICTION Gala and Award. The film screenings are
> paralleled by two days of scientific talks and panel discussions on
> the science, the ethical issues, the applications, and the future
> outlook of Synthetic Biology.
>
> See you in Vienna!
>
> Jens Hauser
>
>
>
>
>
> ------------------------------
>
> _______________________________________________
> Yasmin_discussions mailing list
> Yasmin_discussions@estia.media.uoa.gr
> http://estia.media.uoa.gr/mailman/listinfo/yasmin_discussions
>
>
> End of Yasmin_discussions Digest, Vol 112, Issue 1
> **************************************************
>
--
_________________________________
Howard Boland
Director of Artistic Engagement
c-lab
w. http://c-lab.co.uk
e. howard@c-lab.co.uk
t. +44 (0) 75 95 84 6441
_______________________________________________
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