[Yasmin_discussions] Space 140

Dear Yasminers,

On 10th January 2011, I decided to leave the list Yasmin to
createanything else in resonance with the Tunisian Revolution.
Today, I return to the list and I invite you to discover a new project.
Space 140is open for you. Best regards from Tunis. FA

http://www.remu.fr/space140/accueil

_______________________________________________
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[Yasmin_discussions] FW: art and science agency

Dear Yasminers,
I am Houssine SOUSSI from Paris and I am your moderator for this week.
Just a reminder to new members of yasmin, it would be great if you could send a brief post to the list introducing yourself and your interests relevant to art and science in the mediterranean region.
soussi

> Date: Sat, 18 Jun 2011 10:26:01 -0300
> From: zavenpare@gmail.com
> To: yasmin_discussions@estia.media.uoa.gr
> Subject: Re: [Yasmin_discussions] art and science agency
>
> Roger,
>
> I completely agree with you, and transactional analysis may some times solves
> ours relations with institutions, and not only at the Iméra.
>
> yours sincerely,
>
> Zaven Paré
>
> 2011/6/17 roger malina <rmalina@alum.mit.edu>
>
> > hi george and yasminers
> >
> > I am receptive to your summary of stateofmind as:
> >
> > ""Thestatofmind project can be thought of a relational space that
> > includes its orientation and underlying discourse, meaning the project
> > hasn't been planned in a previous stage and then put to action. All
> > the people that have had to relate to the project had have decisions
> > to make and have therefore contributed to the project's becoming.
> > People are therefore acting as process nodes in an ongoing thought
> > process with respect to the issues and questions that launched the
> > whole process.""
> >
> > indeed in all the discussions on networking, one sometimes looses the
> > idea of agency= networks are interesting in a real sense
> > if they enable different kinds of action of the world-
> >
> > you then go on to state:
> > ""All institutions whether governmental or not deal with agency, the
> > USDAT Is a good example. But in nearly all cases there is a clear
> > distinction between those who organize and those who produce art. An
> > interesting example is artist Anton Vidokle's e-flux magazine, a
> > commercial entreprise that generates funding for art projects.
> > Although there too there is distinction.
> > ""
> >
> > where you introduce a dichotomy between 'those who organise and those
> > who produce art"
> >
> > the recent discussion on the governmental budget cuts in holland to
> > some of the most innovative media arts
> > groups perhaps tests the dichotomy that you set up- organisations like
> > V2 not only advocated, promoted,
> > enabled, produce new kinds of art making and they fit neither in an
> > 'organie' or a 'produce category but
> > clearly both
> >
> > one of the aspects of networks is that it makes certain boundaries more
> > porous
> >
> > roger
> >
> > here is the response from the dutch organisations which articulates a
> > number of very
> > pertinent issues on art agency in society !!
> >
> > roger
> >
> >
> >
> > From: V2_ <joris@v2.nl>
> > Date: June 17, 2011 10:52:01 GMT+02:00
> >
> > Response New Media & Art Institutions to Governmental Cuts
> >
> > Source of innovation is eliminated
> > http://www.v2.nl/news/response-to-governmental-cuts
> >
> > Netherlands, June 15 2011
> >
> > Dear Mr Zijlstra
> > Dear Members of the House of Representatives
> >
> > One of the many decisions in your arts policy paper "More than quality; a
> > new
> > vision on arts policy", is the liquidation of the total infrastructure
> > for new media
> > and art. The media arts & technology sector, which has acquired a place in
> > arts
> > policy in the past 8 years, has been abolished. The socalled 'development
> > institutions': STEIM, Waag Society, V2_, Submarine Channel, WORM and
> > Mediamatic are losing their structural funding. In addition to that
> > the Netherlands
> > Media Art Institute, a visual arts institution which also works in the
> > media arts field,
> > loses its government funding. These structural institutional resources will
> > be
> > rerouted into a new Fund for the Creative Industry, which's mission is
> > to stimulate
> > the social and economic value of the creative industry as a whole.
> >
> > New media art is an independent art discipline
> >
> > The existance of new media as an independent art discipline, including
> > artistic
> > production, audiences, (inter)national networks, and events, is
> > completely denied
> > in this proposed new arts policy.
> >
> > New media art is a discipline which questions and researches the
> > technological
> > developments and challenges of our times, and designs new applications for
> > these issues. It has its own idiom and art practice. It is an
> > independent discipline
> > sustaining independent thematics, international networks of media
> > labs, festivals,
> > publications and presentations. The Dutch model of these cooperating new
> > media
> > labs with crossovers into other fields (social, educational,
> > economical) has been
> > an exemplary model since years. The above mentioned 'development
> > institutions'
> > are internationally renowned, part of vast international networks, and
> > contribute
> > to the position of the Netherlands in the fields of new media and art.
> >
> > Paradox: punished for success
> >
> > Like no other arts field, new media art makes connections to other
> > fields. Its R&D
> > functions are relevant towards the total field of culture, as well as
> > heritage and
> > media. Exchange with science is continually growing, it plays a vital
> > role in the
> > innovation of social domains, and has a large impact on the current renewal
> > of
> > education. The paradox now is that new media art is widely acknowledged and
> > seen as very relevant, but its source: artistic research including its
> > audience
> > outreach, autonomous art prodcution and international network, will now be
> > discontinued.
> >
> > Project based vs structural
> >
> > The policy paper indicates a choice for a project based way of working, and
> > for
> > that reason a total cut in institutional funding for R&D. This is a
> > very remarkable
> > way of reasoning as R&D activities need long term commitment in order to be
> > able to develop from experiment to result. It also requires excellent
> > networking
> > and a sustainable infrastructure, including complex relationships to
> > social fields,
> > business and science. The new media institutions like no other have paved
> > the
> > way for such cooperations, and have shown that arts, sciences, business and
> > society in general can work together in meaningful coalitions.
> > International
> > cooperations that have been opened up to Dutch partners also exist thanks
> > to
> > long term policy. With the abolishment of structural support of these
> > new media art
> > institutions, the basis is washed away and it will be impossible in
> > the future to
> > enter into long term commitments. Like European funding for and
> > participation in
> > research and projects, and participation in national research programs.
> > A project based way of working interferes with continuity.
> >
> > Talent development
> >
> > The new Fund for the Creative Industry is also supposed to work on talent
> > development in a project based manner. This is contrary to the needs of the
> > educational field where there is a demand for structural connections. The
> > new
> > media and art institutions have acknowledged that and play an important
> > role in
> > development of talent and skills through the programs they have set up
> > together with vocational institutions and universities. They also
> > offer internships
> > and work with PHD students. The very same sustainable long term structures
> > are
> > necessary here in order to be able to structurally work within education.
> >
> > The way the Fund for the Creative Industry should work!
> >
> > New media art can only contribute to the mission of enlarging the social
> > and
> > economic value of the creative industry, in case the Fund is enabled to:
> >
> > (1) issue longer term institutional subsidies and
> >
> > (2) means are explicitely made available for artistic research,
> > artistic production
> > and audience based activities
> >
> > We sincerely hope that you will involve the new media and art
> > institutions in the
> > set up and creation of the new Fund, and that the above arguments will lead
> > to
> > the desired adjustments. We will be more than happy to share our views with
> > you,
> > as well as the knowledge that we have in the area of international new
> > media
> > arts policy.
> >
> > Yours sincerely,
> >
> > V2_
> > Waag Society
> > STEIM
> > Mediamatic
> > WORM
> > Submarine Channel
> > Netherlands Media Art Institute
> >
> >
> > Hello Roger,
> >
> > It could be construed as that indeed.
> >
> > All institutions whether governmental or not deal with agency, the
> > USDAT Is a good example. But in nearly all cases there is a clear
> > distinction between those who organize and those who produce art. An
> > interesting example is artist Anton Vidokle's e-flux magazine, a
> > commercial entreprise that generates funding for art projects.
> > Although there too there is distinction.
> >
> > Thestatofmind project can be thought of a relational space that
> > includes its orientation and underlying discourse, meaning the project
> > hasn't been planned in a previous stage and then put to action. All
> > the people that have had to relate to the project had have decisions
> > to make and have therefore contributed to the project's becoming.
> > People are therefore acting as process nodes in an ongoing thought
> > process with respect to the issues and questions that launched the
> > whole process.
> >
> > More simply said: instead of putting objectives relating to values or
> > positions (answers or attitudes that are prior to the project and that
> > condition its development and heading), thestateofmind has been born
> > of questions and problematics, and its purpose of existence is
> > creating collaborative dialectics from those questions, and issues.
> >
> > Instead of reaching consensus as in social networks, the project is
> > creating dissensus, and that leaves open dialectical possibilities.
> >
> >
> > G. H. Rabbath
> >
> > _______________________________________________
> > 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.

_______________________________________________
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.

Re: [Yasmin_discussions] art and science agency

Roger,

I completely agree with you, and transactional analysis may some times solves
ours relations with institutions, and not only at the Iméra.

yours sincerely,

Zaven Paré

2011/6/17 roger malina <rmalina@alum.mit.edu>

> hi george and yasminers
>
> I am receptive to your summary of stateofmind as:
>
> ""Thestatofmind project can be thought of a relational space that
> includes its orientation and underlying discourse, meaning the project
> hasn't been planned in a previous stage and then put to action. All
> the people that have had to relate to the project had have decisions
> to make and have therefore contributed to the project's becoming.
> People are therefore acting as process nodes in an ongoing thought
> process with respect to the issues and questions that launched the
> whole process.""
>
> indeed in all the discussions on networking, one sometimes looses the
> idea of agency= networks are interesting in a real sense
> if they enable different kinds of action of the world-
>
> you then go on to state:
> ""All institutions whether governmental or not deal with agency, the
> USDAT Is a good example. But in nearly all cases there is a clear
> distinction between those who organize and those who produce art. An
> interesting example is artist Anton Vidokle's e-flux magazine, a
> commercial entreprise that generates funding for art projects.
> Although there too there is distinction.
> ""
>
> where you introduce a dichotomy between 'those who organise and those
> who produce art"
>
> the recent discussion on the governmental budget cuts in holland to
> some of the most innovative media arts
> groups perhaps tests the dichotomy that you set up- organisations like
> V2 not only advocated, promoted,
> enabled, produce new kinds of art making and they fit neither in an
> 'organie' or a 'produce category but
> clearly both
>
> one of the aspects of networks is that it makes certain boundaries more
> porous
>
> roger
>
> here is the response from the dutch organisations which articulates a
> number of very
> pertinent issues on art agency in society !!
>
> roger
>
>
>
> From: V2_ <joris@v2.nl>
> Date: June 17, 2011 10:52:01 GMT+02:00
>
> Response New Media & Art Institutions to Governmental Cuts
>
> Source of innovation is eliminated
> http://www.v2.nl/news/response-to-governmental-cuts
>
> Netherlands, June 15 2011
>
> Dear Mr Zijlstra
> Dear Members of the House of Representatives
>
> One of the many decisions in your arts policy paper "More than quality; a
> new
> vision on arts policy", is the liquidation of the total infrastructure
> for new media
> and art. The media arts & technology sector, which has acquired a place in
> arts
> policy in the past 8 years, has been abolished. The socalled 'development
> institutions': STEIM, Waag Society, V2_, Submarine Channel, WORM and
> Mediamatic are losing their structural funding. In addition to that
> the Netherlands
> Media Art Institute, a visual arts institution which also works in the
> media arts field,
> loses its government funding. These structural institutional resources will
> be
> rerouted into a new Fund for the Creative Industry, which's mission is
> to stimulate
> the social and economic value of the creative industry as a whole.
>
> New media art is an independent art discipline
>
> The existance of new media as an independent art discipline, including
> artistic
> production, audiences, (inter)national networks, and events, is
> completely denied
> in this proposed new arts policy.
>
> New media art is a discipline which questions and researches the
> technological
> developments and challenges of our times, and designs new applications for
> these issues. It has its own idiom and art practice. It is an
> independent discipline
> sustaining independent thematics, international networks of media
> labs, festivals,
> publications and presentations. The Dutch model of these cooperating new
> media
> labs with crossovers into other fields (social, educational,
> economical) has been
> an exemplary model since years. The above mentioned 'development
> institutions'
> are internationally renowned, part of vast international networks, and
> contribute
> to the position of the Netherlands in the fields of new media and art.
>
> Paradox: punished for success
>
> Like no other arts field, new media art makes connections to other
> fields. Its R&D
> functions are relevant towards the total field of culture, as well as
> heritage and
> media. Exchange with science is continually growing, it plays a vital
> role in the
> innovation of social domains, and has a large impact on the current renewal
> of
> education. The paradox now is that new media art is widely acknowledged and
> seen as very relevant, but its source: artistic research including its
> audience
> outreach, autonomous art prodcution and international network, will now be
> discontinued.
>
> Project based vs structural
>
> The policy paper indicates a choice for a project based way of working, and
> for
> that reason a total cut in institutional funding for R&D. This is a
> very remarkable
> way of reasoning as R&D activities need long term commitment in order to be
> able to develop from experiment to result. It also requires excellent
> networking
> and a sustainable infrastructure, including complex relationships to
> social fields,
> business and science. The new media institutions like no other have paved
> the
> way for such cooperations, and have shown that arts, sciences, business and
> society in general can work together in meaningful coalitions.
> International
> cooperations that have been opened up to Dutch partners also exist thanks
> to
> long term policy. With the abolishment of structural support of these
> new media art
> institutions, the basis is washed away and it will be impossible in
> the future to
> enter into long term commitments. Like European funding for and
> participation in
> research and projects, and participation in national research programs.
> A project based way of working interferes with continuity.
>
> Talent development
>
> The new Fund for the Creative Industry is also supposed to work on talent
> development in a project based manner. This is contrary to the needs of the
> educational field where there is a demand for structural connections. The
> new
> media and art institutions have acknowledged that and play an important
> role in
> development of talent and skills through the programs they have set up
> together with vocational institutions and universities. They also
> offer internships
> and work with PHD students. The very same sustainable long term structures
> are
> necessary here in order to be able to structurally work within education.
>
> The way the Fund for the Creative Industry should work!
>
> New media art can only contribute to the mission of enlarging the social
> and
> economic value of the creative industry, in case the Fund is enabled to:
>
> (1) issue longer term institutional subsidies and
>
> (2) means are explicitely made available for artistic research,
> artistic production
> and audience based activities
>
> We sincerely hope that you will involve the new media and art
> institutions in the
> set up and creation of the new Fund, and that the above arguments will lead
> to
> the desired adjustments. We will be more than happy to share our views with
> you,
> as well as the knowledge that we have in the area of international new
> media
> arts policy.
>
> Yours sincerely,
>
> V2_
> Waag Society
> STEIM
> Mediamatic
> WORM
> Submarine Channel
> Netherlands Media Art Institute
>
>
> Hello Roger,
>
> It could be construed as that indeed.
>
> All institutions whether governmental or not deal with agency, the
> USDAT Is a good example. But in nearly all cases there is a clear
> distinction between those who organize and those who produce art. An
> interesting example is artist Anton Vidokle's e-flux magazine, a
> commercial entreprise that generates funding for art projects.
> Although there too there is distinction.
>
> Thestatofmind project can be thought of a relational space that
> includes its orientation and underlying discourse, meaning the project
> hasn't been planned in a previous stage and then put to action. All
> the people that have had to relate to the project had have decisions
> to make and have therefore contributed to the project's becoming.
> People are therefore acting as process nodes in an ongoing thought
> process with respect to the issues and questions that launched the
> whole process.
>
> More simply said: instead of putting objectives relating to values or
> positions (answers or attitudes that are prior to the project and that
> condition its development and heading), thestateofmind has been born
> of questions and problematics, and its purpose of existence is
> creating collaborative dialectics from those questions, and issues.
>
> Instead of reaching consensus as in social networks, the project is
> creating dissensus, and that leaves open dialectical possibilities.
>
>
> G. H. Rabbath
>
> _______________________________________________
> 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.

[Yasmin_discussions] art and science agency

hi george and yasminers

I am receptive to your summary of stateofmind as:

""Thestatofmind project can be thought of a relational space that
includes its orientation and underlying discourse, meaning the project
hasn't been planned in a previous stage and then put to action. All
the people that have had to relate to the project had have decisions
to make and have therefore contributed to the project's becoming.
People are therefore acting as process nodes in an ongoing thought
process with respect to the issues and questions that launched the
whole process.""

indeed in all the discussions on networking, one sometimes looses the
idea of agency= networks are interesting in a real sense
if they enable different kinds of action of the world-

you then go on to state:
""All institutions whether governmental or not deal with agency, the
USDAT Is a good example. But in nearly all cases there is a clear
distinction between those who organize and those who produce art. An
interesting example is artist Anton Vidokle's e-flux magazine, a
commercial entreprise that generates funding for art projects.
Although there too there is distinction.
""

where you introduce a dichotomy between 'those who organise and those
who produce art"

the recent discussion on the governmental budget cuts in holland to
some of the most innovative media arts
groups perhaps tests the dichotomy that you set up- organisations like
V2 not only advocated, promoted,
enabled, produce new kinds of art making and they fit neither in an
'organie' or a 'produce category but
clearly both

one of the aspects of networks is that it makes certain boundaries more porous

roger

here is the response from the dutch organisations which articulates a
number of very
pertinent issues on art agency in society !!

roger

From: V2_ <joris@v2.nl>
Date: June 17, 2011 10:52:01 GMT+02:00

Response New Media & Art Institutions to Governmental Cuts

Source of innovation is eliminated
http://www.v2.nl/news/response-to-governmental-cuts

Netherlands, June 15 2011

Dear Mr Zijlstra
Dear Members of the House of Representatives

One of the many decisions in your arts policy paper "More than quality; a new
vision on arts policy", is the liquidation of the total infrastructure
for new media
and art. The media arts & technology sector, which has acquired a place in arts
policy in the past 8 years, has been abolished. The socalled 'development
institutions': STEIM, Waag Society, V2_, Submarine Channel, WORM and
Mediamatic are losing their structural funding. In addition to that
the Netherlands
Media Art Institute, a visual arts institution which also works in the
media arts field,
loses its government funding. These structural institutional resources will be
rerouted into a new Fund for the Creative Industry, which's mission is
to stimulate
the social and economic value of the creative industry as a whole.

New media art is an independent art discipline

The existance of new media as an independent art discipline, including artistic
production, audiences, (inter)national networks, and events, is
completely denied
in this proposed new arts policy.

New media art is a discipline which questions and researches the technological
developments and challenges of our times, and designs new applications for
these issues. It has its own idiom and art practice. It is an
independent discipline
sustaining independent thematics, international networks of media
labs, festivals,
publications and presentations. The Dutch model of these cooperating new media
labs with crossovers into other fields (social, educational,
economical) has been
an exemplary model since years. The above mentioned 'development institutions'
are internationally renowned, part of vast international networks, and
contribute
to the position of the Netherlands in the fields of new media and art.

Paradox: punished for success

Like no other arts field, new media art makes connections to other
fields. Its R&D
functions are relevant towards the total field of culture, as well as
heritage and
media. Exchange with science is continually growing, it plays a vital
role in the
innovation of social domains, and has a large impact on the current renewal of
education. The paradox now is that new media art is widely acknowledged and
seen as very relevant, but its source: artistic research including its audience
outreach, autonomous art prodcution and international network, will now be
discontinued.

Project based vs structural

The policy paper indicates a choice for a project based way of working, and for
that reason a total cut in institutional funding for R&D. This is a
very remarkable
way of reasoning as R&D activities need long term commitment in order to be
able to develop from experiment to result. It also requires excellent networking
and a sustainable infrastructure, including complex relationships to
social fields,
business and science. The new media institutions like no other have paved the
way for such cooperations, and have shown that arts, sciences, business and
society in general can work together in meaningful coalitions. International
cooperations that have been opened up to Dutch partners also exist thanks to
long term policy. With the abolishment of structural support of these
new media art
institutions, the basis is washed away and it will be impossible in
the future to
enter into long term commitments. Like European funding for and participation in
research and projects, and participation in national research programs.
A project based way of working interferes with continuity.

Talent development

The new Fund for the Creative Industry is also supposed to work on talent
development in a project based manner. This is contrary to the needs of the
educational field where there is a demand for structural connections. The new
media and art institutions have acknowledged that and play an important role in
development of talent and skills through the programs they have set up
together with vocational institutions and universities. They also
offer internships
and work with PHD students. The very same sustainable long term structures are
necessary here in order to be able to structurally work within education.

The way the Fund for the Creative Industry should work!

New media art can only contribute to the mission of enlarging the social and
economic value of the creative industry, in case the Fund is enabled to:

(1) issue longer term institutional subsidies and

(2) means are explicitely made available for artistic research,
artistic production
and audience based activities

We sincerely hope that you will involve the new media and art
institutions in the
set up and creation of the new Fund, and that the above arguments will lead to
the desired adjustments. We will be more than happy to share our views with you,
as well as the knowledge that we have in the area of international new media
arts policy.

Yours sincerely,

V2_
Waag Society
STEIM
Mediamatic
WORM
Submarine Channel
Netherlands Media Art Institute

Hello Roger,

It could be construed as that indeed.

All institutions whether governmental or not deal with agency, the
USDAT Is a good example. But in nearly all cases there is a clear
distinction between those who organize and those who produce art. An
interesting example is artist Anton Vidokle's e-flux magazine, a
commercial entreprise that generates funding for art projects.
Although there too there is distinction.

Thestatofmind project can be thought of a relational space that
includes its orientation and underlying discourse, meaning the project
hasn't been planned in a previous stage and then put to action. All
the people that have had to relate to the project had have decisions
to make and have therefore contributed to the project's becoming.
People are therefore acting as process nodes in an ongoing thought
process with respect to the issues and questions that launched the
whole process.

More simply said: instead of putting objectives relating to values or
positions (answers or attitudes that are prior to the project and that
condition its development and heading), thestateofmind has been born
of questions and problematics, and its purpose of existence is
creating collaborative dialectics from those questions, and issues.

Instead of reaching consensus as in social networks, the project is
creating dissensus, and that leaves open dialectical possibilities.

G. H. Rabbath

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Re: [Yasmin_discussions] 1. art agency (roger malina)

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[Yasmin_discussions] New Media Art Organisations in Netherlands lose funding

Hi
The New Media Art Organisations funding in Netherlands have been since more then 20 years a model for working in art and media and with many issues central to contemporary art, and showing how necessary is the Istitution's presence in a full development of cultural reasearch.
This model has allowed a great amount of experiences that have contributed to shape contemporary art and media, as well as new music, new comunications, inter/relationships with other cultures, etc...
V2, Waag, Mediamatic, Steim, Nimk, Balie etc.. (and all the Universities' work related to them!) really defined concepts and structures of extreme modernity.
This important platform of thought and actions has produced the most interesting and stimulating experiences.
We must find a way to show the dutch government to defend their outstanding cultural work and defend those important achievements.
Prof Lorenzo Taiuti
University La Sapienza Roma Italy
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[Yasmin_discussions] 1. art agency (roger malina)

Hello Roger,

It could be construed as that indeed.

All institutions whether governmental or not deal with agency, the USDAT Is a good example. But in nearly all cases there is a clear distinction between those who organize and those who produce art. An interesting example is artist Anton Vidokle's e-flux magazine, a commercial entreprise that generates funding for art projects. Although there too there is distinction.

Thestatofmind project can be thought of a relational space that includes its orientation and underlying discourse, meaning the project hasn't been planned in a previous stage and then put to action. All the people that have had to relate to the project had have decisions to make and have therefore contributed to the project's becoming. People are therefore acting as process nodes in an ongoing thought process with respect to the issues and questions that launched the whole process.

More simply said: instead of putting objectives relating to values or positions (answers or attitudes that are prior to the project and that condition its development and heading), thestateofmind has been born of questions and problematics, and its purpose of existence is creating collaborative dialectics from those questions, and issues.

Instead of reaching consensus as in social networks, the project is creating dissensus, and that leaves open dialectical possibilities.

G. H. Rabbath

On 11 juin 2011, at 20:36, yasmin_discussions-request@estia.media.uoa.gr wrote:

> Send Yasmin_discussions mailing list submissions to
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>
>
> ----------------------------------------------------------------------
>
> Message: 1
> Date: Sat, 11 Jun 2011 19:51:26 +0200
> From: roger malina <rmalina@alum.mit.edu>
> Subject: [Yasmin_discussions] art agency
> To: YASMIN DISCUSSIONS <Yasmin_discussions@estia.media.uoa.gr>
> Message-ID: <BANLkTimHdwO+LCcO+xVbuZstiXKYE8H5pg@mail.gmail.com>
> Content-Type: text/plain; charset=windows-1252
>
> georges
>
> i am having trouble wtih the concept of art agency but
> when i googled "art agency' our yasmin discussion is now
> in the top ten links..is this an action ?
>
> meanwhile the discussion has reminded me of the work of artist randall
> packer when he set up the US departement of art and technology
>
> http://www.usdat.us/archives/index_home.html
>
> The US Department of Art & Technology promotes media art, cultural
> growth, the artist voice in reshaping public policy, and improved
> aesthetic standards for all Americans by working in partnership with
> business, universities, communities and art schools to:
>
> ? Build for the future and promote U.S. competitiveness in the global
> art marketplace by strengthening and safeguarding the nation's
> cultural infrastructure;
>
> ? Insure that the artist as visionary, as social revolutionary, has
> voice in the national dialogue;
>
> ? Confront corporate control of mass media;
>
> ? Keep American media art competitive with cutting-edge science and
> technology through an unrivaled information base;
>
> ? Provide effective management and stewardship of the nation's
> cultural resources and assets in the field of art and technology to
> ensure sustainable artistic opportunities.
>
> The Department of Art and Technology touches the daily lives of
> Americans in many ways -- it makes possible the utopian principles
> that transform our existence; it facilitates technology that artists
> use in the studio every day; it supports the development, gathering
> and transmitting of information essential to the virtualization of
> Government systems; it makes possible the diversity of artists and
> artworks found in America's (and the world's) galleries and museums;
> and it supports revolutionary doctrines for the communities in which
> Americans live.
>
> http://www.usdat.us/archives/index_home.html
>
>
> roger
>
>
>
> ------------------------------
>
> _______________________________________________
> 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 124, Issue 1
> **************************************************

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[Yasmin_discussions] art and science agency

yasminers

for our art and science agency discussion, the work of vesna milanovic
provides a number of examples of art agency in times of social
turmoil, in this case Serbia during the disappearance of yugoslavia

http://www.shu.ac.uk/research/meri/profiles/v_milanovic.html

She recently published an article in Leonardo Journal

Performing Exile in Real Time through a French Feminist Framework
http://mtw160-150.ippl.jhu.edu/journals/leonardo/summary/v044/44.2.milanovic.html

more information at

Engineering for Life network

http://research.shu.ac.uk/engineering-for-life/

We want to foster innovative collaborations that will enhance people's lives.

To do this we are creating a network of passionate researchers who
have the ability to push the boundaries of interdisciplinary working.
In particular, it will address problems related to the following three
themes

rehabilitation and assisted living
sport, physical activity and medicine
sustainability

Through an award from the Engineering and Physical Sciences Research
Council, we will be holding field labs, idea generator events and
research cafes in order to drive the inspiration process towards
pioneering research.

These events will be dynamic environments - playgrounds for thinkers,
visionaries and innovators to create new connections and share
knowledge.

in a recent article she discusses the work of

The Center for Cultural Decontamination (CZKD) in Belgrade, Serbia,

http://www.czkd.org/info.php?lang=en

is an independent cultural institution that works to allow the real
forces of society to surge into new, unfettered forms of cultural and
art creation. Through performances, exhibitions, concerts, public
discussions, lecture series, street actions and miscellaneous
inoculations that have involved thousands of persons for over 15
years, CZKD works to promote freedom of expression, freedom for
creativity and freedom from fear.

CZKD is both a producer and a venue. Its own productions have toured
domestically and internationally, in neighboring countries, throughout
the rest of Europe and as far away as Colombia.

It is a crucible for collaborative ventures of artists and activists,
public and private sectors, government and nongovernmental
organizations, international and domestic initiatives.

CZKD has always been the place where people come to feel free.

Unfortunataly our region of the mediterranean, middle east and north
africa has been the scence of repeated conflicts

artists and scientists have often responded- but the cultural roots for pacific
co existence dont yet exist

roger
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[Yasmin_discussions] art agency

georges

i am having trouble wtih the concept of art agency but
when i googled "art agency' our yasmin discussion is now
in the top ten links..is this an action ?

meanwhile the discussion has reminded me of the work of artist randall
packer when he set up the US departement of art and technology

http://www.usdat.us/archives/index_home.html

The US Department of Art & Technology promotes media art, cultural
growth, the artist voice in reshaping public policy, and improved
aesthetic standards for all Americans by working in partnership with
business, universities, communities and art schools to:

– Build for the future and promote U.S. competitiveness in the global
art marketplace by strengthening and safeguarding the nation's
cultural infrastructure;

– Insure that the artist as visionary, as social revolutionary, has
voice in the national dialogue;

– Confront corporate control of mass media;

– Keep American media art competitive with cutting-edge science and
technology through an unrivaled information base;

– Provide effective management and stewardship of the nation's
cultural resources and assets in the field of art and technology to
ensure sustainable artistic opportunities.

The Department of Art and Technology touches the daily lives of
Americans in many ways -- it makes possible the utopian principles
that transform our existence; it facilitates technology that artists
use in the studio every day; it supports the development, gathering
and transmitting of information essential to the virtualization of
Government systems; it makes possible the diversity of artists and
artworks found in America's (and the world's) galleries and museums;
and it supports revolutionary doctrines for the communities in which
Americans live.

http://www.usdat.us/archives/index_home.html

roger

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[Yasmin_discussions] Art agency and its constitution (roger malina) (Georges Rabbath)

Continued

Dear Deena,

This project illustrates how art can be inspired by politics, best:

Wikonstitution is a project relating to Iceland's decision to elect citizen to rewrite the constitution. The Lebanese constitution on Wikisource is the only text that hasn't been divided into editable parts, while the Syrian's republic constitution has been deleted for copyright issues. Candidates will be nominated by their peers and given equal share in the AlleGORA space to offer specific items of an imaginary constitution. Live discussions, and online voting will create an ongoing process who ongoing results will be printed, and distributed in Venice by agents on the grounds. Readings from the wikonstitution will take place in the Danish pavilion's 'Public Speaker Corner'.

On 8 juin 2011, at 23:06, Deena Chalabi <dchalabi@qma.org.qa> wrote:

> Dear Georges,
>
> Mathaf: Arab Museum of Modern Art would like to invite you to participate in a quick thought experiment this week. We are hoping to publish a group notebook—a composite journal of ideas—capturing our community's current thinking and projections for the future. We want to hear your response, either written or visual, to the question:
>
> What can politics learn from art?
>
> We have been thinking a lot about the enabling power of 'interference' – not so much in the sense of the usual negative interference of foreign bodies in public affairs, or censorship, or any other kind of reactive force that imposes restrictions, but instead a proactive crossing of borders and obstacles, summoning productive moments of change or growth.
>
> Your initial thoughts to our question are the most valuable, and feel free to respond in any of a number of ways. Write us a paragraph or a list. Scan us an illustration or a mindmap. Or send us something you've done before: an image of an artwork or an excerpt from a written piece that you'd like to share instead (up to 300 words please).
>
> We are hoping to collect everything by this Friday, June 10th. Although it's very soon, we hope you can find a few minutes to share your thoughts.
>
> We hope to publish the responses online and also in a small print volume in early July, to coincide with a pop-up version of Mathaf at the ICA in London called Interference, a weekend of talks and workshops, among other activities. If you are able attend these events, we would love to see you. More details to follow soon.
>
> In the meantime, we look forward to your ideas.
>
> All best wishes,
>
> Deena
>
>
>
>
> دعوة إلى الأفكار: كيف يمكنُ للسياسةِ أن تستفيد من الفن؟
>
>
> يدعوكم 'متحف': المتحف العربي للفن الحديث، للمشاركة في تجربة فكرية هذا الأسبوع. نحن نأمل في نشر مفكرة جماعية؛ صحيفة تحوي مزيجًا من الأفكار - تلتقط تفكيرَنا الحالي حِيالَ المجتمع وتوقعاتنا للمستقبل. نودُّ أن نسمعَ إجاباتِكم، سواءً مكتوبةً أو مرئيَّةً، على السؤالِ العنوان: كيف يمكنُ للسياسةِ أن تستفيد من الفن؟
>
>
> لقد ظللنا نفكرُ كثيرًا بشأن القوة المكينة للـ"تدخل" – ليس بالمعنى السلبي الذي كثيرًا ما يتبادرُ إلى الذهن من تدخل هيئات أجنبية في الشؤون العامة، أو الرقابة، أو أي نوعٍ آخر من قوة ردود الأفعال الباطشة التي تفرضُ القيودَ، لكن بدلا من ذلك نعني عبورًا استباقيًّا للحدود والعقبات، مُستدعيًا لحظاتٍ مثمرة من التغييرِ والازدهار.
>
>
> أفكارُكُمُ الأولية حِيالَ سؤالِنا هي الأكثرُ قيمةً، لذا فلا تترددوا في الردِّ بأي وسيلةٍ من الوسائل المتاحةِ. اكتبوا لنا فقرة أو قائمة. أرسلوا لنا رسومًا إيضاحيةً أو خريطة ذهنية بالماسح الضوئي (الاسكانر).أو أرسلوا لنا شيئًا قمتم بعمله من قبل: صورةً من عملٍ فني أو مقتطفًا من قطعةٍ مكتوبةٍ تحبون أن تشاركوا بها بدلًا من ذلك.
>
>
> آخر موعد للمشاركة هو نهاية الأسبوع الحالي – الجمعة العاشر من يونيو. وعلى الرغم من قربه، إلا أنه يحدونا الأملُ في أنكم ستجدون دقائق معدودات تشاركونا فيها أفكارَكم.
>
>
> نأمل في نشرِ ردودِكم على الانترنت وأيضًا في مجلدٍ صغيرٍ الحجم يصدُرُ في أوائل شهر يوليو ليتزامنَ مع نسخةٍ منبثقةٍ من المتحف في ال ICAبلندن تحت عنوان تدخل والتي ستتزامن مع عطلة نهاية أسبوع مفعمة بالمحادثات وورش عمل، بالإضافة إلى أنشطةٍ أخرى. إذا كان بمقدوركم حضور وقائع تدخل فسنسعد قطعًا برؤياكم. ترقبوا مزيدًا من التفصيلات لاحقا.
>
>
> وفي هذه الأثناء، نتطلع لأفكاركم.
>
> مع أطيب الأمنيات
>
> دينا
>
>
> Deena Chalabi
> Head of Strategy
> Mathaf: Arab Museum of Modern Art
> Qatar Museums Authority
> www.mathaf.org.qa

G. H. Rabbath

On 8 juin 2011, at 10:11, yasmin_discussions-request@estia.media.uoa.gr wrote:

> Send Yasmin_discussions mailing list submissions to
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> yasmin_discussions-request@estia.media.uoa.gr
>
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>
> When replying, please edit your Subject line so it is more specific
> than "Re: Contents of Yasmin_discussions digest..."
>
>
> THIS IS THE YASMIN-DISCUSSIONS DAILY DIGEST
>
> Today's Topics:
>
> 1. 1. Art agency and its constitution (roger malina)
> (Georges Rabbath)
>
>
> ----------------------------------------------------------------------
>
> Message: 1
> Date: Wed, 08 Jun 2011 06:07:05 +0000
> From: "Georges Rabbath" <georges.rabbath@gmail.com>
> Subject: [Yasmin_discussions] 1. Art agency and its constitution
> (roger malina)
> To: <yasmin_discussions@estia.media.uoa.gr>
> Message-ID: <4def1189.634dec0a.59c6.0748@mx.google.com>
> Content-Type: TEXT/PLAIN; charset=UTF-8
>
> This GH. Rabbath signing in. Please excuse me for this long delay.
>
> I would like to try a performative discussion about agency where respondents would be involved in simple actions on the grounds wherever they might be in the world. I would begin with myself of course.
>
> Agency in art is a pressing problem with the intrusion and diss?mination of artistic production in general media as well as in scientific fields. New media has helped develop artistic pratice away from the object (not too far mind you) and towards the process.
>
> At least this is what it looks like from inside the artworld which brings us to the question of agency: when the artwork is fulfilled in the process, the artist's status as producer is put into question. This not a new problem, however the increasing commodification and the archaic relation to the means of production in the artworld is widening a gap between the artist's discourse and action because of the branding of the artist's name.
>
> This brings us to the importance of the performative treatment of the present issue.
> If we are dealing with agency in art or through art the discussion itself has be part of the process and therefore performative.
>
> We cannot deal with art from an external standpoint. There is no possible critical distance. This has the logical consequence of empowering the viewer allthewhile creating a tension and dissensus with the actual and continued practices in art where names refer a limited number of people identified as the producer or artist.
>
> thestateofmind.be initiative came to be with no clear artistic authorship. It is a relational that changes form with new additions and actions. The website is not the space, rather the relation to question of agency in art and its performative treatment.
>
> In that respect the thought process generated by the discussion should have a performative part through specific actions by the respondents.
>
> I would begin myself as offered, and relay the proposal or response on the bambuser account in order transfer the theoretical proposition into a performative stance.
>
> We are thestateofmind
>
>
>
> Georges Rabbath
>
>
>
> -----Original Message-----
> From: yasmin_discussions-request@estia.media.uoa.gr
> Sent: 03/06/2011, 2:20 PM
> To: yasmin_discussions@estia.media.uoa.gr
> Subject: Yasmin_discussions Digest, Vol 118, Issue 1
>
>
> Send Yasmin_discussions mailing list submissions to
> yasmin_discussions@estia.media.uoa.gr
>
> To subscribe or unsubscribe via the World Wide Web, visit
> http://estia.media.uoa.gr/mailman/listinfo/yasmin_discussions
> or, via email, send a message with subject or body 'help' to
> yasmin_discussions-request@estia.media.uoa.gr
>
> You can reach the person managing the list at
> yasmin_discussions-owner@estia.media.uoa.gr
>
> When replying, please edit your Subject line so it is more specific
> than "Re: Contents of Yasmin_discussions digest..."
>
>
> THIS IS A DAILY DIGEST BY YASMIN_ANNOUNCEMENTS
>
> Today's Topics:
>
> 1. Art agency and its constitution (roger malina)
> 2. grading the lebanese constitution (roger malina)
> 3. Re: Boundaries (hight@34n118w.net)
> 4. Living data (Lisa Roberts)
> 5. Re: Boundaries (teri rueb)
>
>
> ----------------------------------------------------------------------
>
> Message: 1
> Date: Thu, 2 Jun 2011 13:42:28 +0200
> From: roger malina <rmalina@alum.mit.edu>
> Subject: [Yasmin_discussions] art agency and its constitution
> To: YASMIN DISCUSSIONS <Yasmin_discussions@estia.media.uoa.gr>
> Message-ID: <BANLkTikh2x-mY7SzE5j25zD+5eph07jh7g@mail.gmail.com>
> Content-Type: text/plain; charset=UTF-8
>
> yasminers
>
> the venice biennale activities are under way= goerge
> rabbath and team are reporting daily on their\blog =we hope
> you will contribute
>
> roger
>
> http://thestateofmind.be/
>
>
> With the current change in Middle-Eastern and North African countries,
>>> it has become clear that the use of new media has apparently given
>>> people the power to change status quos. This new (media) kind of
>>> freedom is being addressed by attempts by governments to control the
>>> web and exert better censorship and press intimidation. At the same
>>> time the exercise of freedom of speech through new media gives rise to
>>> new questions about the close relation to freedom and chaos.
>>>
>>> A R A B means W E S T, the words ??? (Arab) and ??? (West) have the
>>> same root. The A R A B S were named thus because they were to the west
>>> of the Assyrians. It so happens that this name has come to give E U R
>>> O P E its name through the myth of Europa, being kidnapped by Zeus
>>> from kingdom of Tyre and ending up in an island at equal distance of
>>> East and West. Being A R A B has become an allegory of change.
>>>
>>> Change is happening, the question is whether change entails freedom or
>>> whether it just refers to the unpredictability of chaos. The growing
>>> aspect of participation in contemporary art, questions under new light
>>> whether artistic practice per se, entails conditions of freedom, or
>>> whether it stops at agency. Agency is a notion closely tied to that of
>>> freedom. When we refer to agency, we usually combine the two words and
>>> say free agency. But we sometimes use this term to refer to freedom as
>>> well as agency. T H E A R A B S T A T E S O F M I N D is the
>>> performative displacement, and the conceptual wandering of the ?State
>>> of Mind? exhibition projected in Venice in June 2011.
>
> http://thestateofmind.be/
>
>
>
> ------------------------------
>
> Message: 2
> Date: Thu, 2 Jun 2011 13:48:44 +0200
> From: roger malina <rmalina@alum.mit.edu>
> Subject: [Yasmin_discussions] grading the lebanese constitution
> To: YASMIN DISCUSSIONS <Yasmin_discussions@estia.media.uoa.gr>
> Message-ID: <BANLkTimyA0nhV2ZyfUD1yRSBt7vJCrphng@mail.gmail.com>
> Content-Type: text/plain; charset=ISO-8859-1
>
> yasminers
>
> 187 of you have now graded the Lebanese Constitution and it
> is currently rated at:
>
> 11.20320855615 out of 20
>
> http://www.dastooronline.com/
>
> 'Grading the Lebanese Constitution' is a web based project by Ricardo
> Mbarkho where people can make anonymous grading for any and every
> article of the actual Lebanese Constitution. An Overall Average Grade
> is constantly displayed and updated. This grading centered project
> with its mass evaluation process implies different ways of reading the
> numbers and graphs of all the statistical results. It's a work that
> deals with data interpretation to offer multiple analysis levels
> relative to our emotional and rational attitude toward the
> Constitution.
>
> http://www.dastooronline.com/
>
> Roger
>
>
> ------------------------------
>
> Message: 3
> Date: Thu, 2 Jun 2011 12:49:37 -0700
> From: hight@34n118w.net
> Subject: Re: [Yasmin_discussions] Boundaries
> To: yasmin_discussions@estia.media.uoa.gr
> Message-ID:
> <9ae6cb0d361bc4a7baff336fdaa30a2c.squirrel@webmail.34n118w.net>
> Content-Type: text/plain;charset=iso-8859-1
>
> Vicki,
>
> I love the title "Echology". echo/ecology=data and even feedback loop
>
> It sounds fascinating and very timely. I have studied meteorology and
> climatology since I was a little kid and Australia in the last year has
> had some wild events. Yassi comes to mind first, but also the unusual
> inland flooding both in the east and in the west central dry regions that
> had a temporary lake. The effects of La Nina and arguably climate change
> have been immense and wide ranging to the extreme there. As I write we are
> expecting a storm in a few days to bring up to 2 inches of rain in parts
> of northern california which is unheard of in June (some all time records
> are .89 inches down to near a trace).
>
> I would love to know what you and other yasminers think of data and how it
> is timely in relation to larger issues and concerns. I think right away
> of archiving and older platforms and hardware as well as the work being
> down by the Buckminster Fuller Insitute and the recent challenge winners
> among a wide array of ecological and semiotic concerns around data and
> measure.
>
> best,
>
> Jeremy
>
>
>
>> 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).
>>
>>
>>
>>
>>
>>
>>
>>
>> _______________________________________________
>> 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: 4
> Date: Fri, 3 Jun 2011 08:04:42 +1000
> From: Lisa Roberts <lisa@lisaroberts.com.au>
> Subject: [Yasmin_discussions] Living data
> To: YASMIN DISCUSSIONS <yasmin_discussions@estia.media.uoa.gr>
> Message-ID: <20110603080442.14cafb9a@lisa-desktop>
> Content-Type: text/plain; charset=US-ASCII
>
> Yasminers,
>
> I am interested to read Vikki's post, particularly have
> experienced last week's VIVID event. I too have observed a growing
> number of artists who are attracted to working with data. The word
> data seems to have gathered around it an appeal that goes beyond its
> definition as mere measurements and statistics.
>
> The VIVID event comprised many small
> and large scale light projections. At the launch it was was promoted
> as a Design event that was innovative, sustainable and creative.
> Individual statements by designers and design companies made references
> to their innovative projections of data. Was it innovative? Apart
> from the fact that LED lights are now replacing incandescent lighting
> forms, many of the works appeared to collect and project the same old
> data (random movements of people) in the same old ways (through motion,
> heat or light sensors). Sustainable? The scale of the event was so huge
> it made me wonder about its carbon footprint. Creative? Creativity has
> no clear definition, but I had to ask, How does such work contribute
> to creating a more sustainable world?
>
> However, VIVID gave many people pleasure. It was, quite simply
> seductive colour and movement. It brought people together in a
> space and made us think and talk. I was seduced by the beauty of
> the works and stimulated by discussions that they led to. One
> discussion was about how there are artists and scientists
> who have an interest in connecting many people to data that has more
> meaning than random human actions. We agreed that there is a
> place for designers to develop such displays, but a need for
> connections to be made between them and artists and scientists.
>
> Such connections are starting to be made at UTS, and I am keen to know
> of other places where this is happening.
>
> At UTS this year, a confluence of interests naturally arose between
> me, a climate change scientist and an artist who works with data. This
> has led to a new research project, Living data: How animation can bring
> scientific data to life, which I will lead through the Climate Change
> Cluster (C3) in the Faculty of Scientists. I will work with
> plankton ecologist Martina Doblin (PhD UTS) and artist and data
> visualizer Gail Kenning (PhD UNSW). Students and their tutors at UTS and
> other universities in Australia and overseas will be offered
> opportunities to participate in the research through field trips,
> workshops, exhibitions, conferences, publications and the on-line
> research journal.
>
> Please read the Project Outline below and let us know if you would like
> us to us keep you posted of our progress.
>
> Project Outline
>
> The need to communicate accurate and accessible information about the
> integral connections between human actions and the global ecosystem is
> urgent. As artists and scientists we propose a two-year program of
> research into how art and science methods can be used to make digital
> animations that present scientific data in ways that can expand
> awareness of the place of humans within the natural systems. A visual
> language of archetypal forms used in art and science to describe
> feelings of connection and forces of change in the natural world will
> be combined. Animations that appeal to the senses and intellect will
> give new meanings to climate change data by connecting them to human
> experience. Animations will be made accessible from a free on-line
> archive and distributed widely. Our research will model a new
> pedagogical framework for teaching and learning that reflects our view
> of the world as a dynamic integrated whole.
>
> Roberts, L; Doblin, M.; Kenning, G. May 2011
>
> ---------------------------
>
> Lisa Roberts, PhD Fine Arts (UNSW)
>
> www.lisaroberts.com.au
> www.antarcticanimation.com
>
> Post:-
> PO Box 486
> Newtown NSW
> Australia 2042
>
> Tel. +61 2 9550 2806
> Mob. 0428 502 805
>
>
> ------------------------------
>
> Message: 5
> Date: Thu, 2 Jun 2011 19:31:37 -0400
> From: teri rueb <terirueb@gmail.com>
> Subject: Re: [Yasmin_discussions] Boundaries
> To: YASMIN DISCUSSIONS <yasmin_discussions@estia.media.uoa.gr>
> Message-ID: <BANLkTikxvmGebGpPBRC-9=5LiQjBeHmDDg@mail.gmail.com>
> Content-Type: text/plain; charset=ISO-8859-1
>
> Hi All,
>
> Happy to be a new Yasminer! And sorry to be so late in jumping into this
> discussion - I have been busy writing a very long paper. Finally done. I
> hope I am not introducing too much of a non sequitur with this comment.
>
> Roger wrote:
>
> 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
>
> I wonder:
>
> What about the phenomena that we only have abstract awareness of that lies
> right in plain view and sensible without aid or "visualization," yet resists
> quantification or reduction to mediated representations? Do mediated
> overlays of data sets possibly eclipse or dull our senses to such rich
> information? How might the capacity to direct movement and gaze or
> attention - also critical capacities of locative media - be used to bring us
> back to the fundamental experience of our own embodiment that is so often
> pushed to the margins of our consciousness as we seek evermore data
> "enhanced" experiences, often tailored to data-obsessed, media-attuned
> sensibilities?
>
> I also am drawn to think about the ways that "layers and layers" of data may
> actually distance us from the richness of ambiguous, yet ubiquitous,
> phenomena that give richness to interaction in public spaces - the level of
> conscious and unconscious apprehension of our surroundings that "places" us
> in relation to environment and other inhabitants. For example, the smells
> in a crowded subway car that shift with the rocking of cars and bodies, the
> sources of such smells ranging from the fuel or electric power of the
> infrastructure, the materials of the train itself, to the smells of hair
> products, laundry detergent, food, sweat, urine, etc. - all of which inform
> our sense of identity, placing us and displacing us in the moment, location,
> and social context. Displacement may be even more important to challenging
> who we are and what unites and divides us in public, personal and private
> space, yet how do data overlays facilitate such displacements - especially
> since most are intent upon fixing us in space, or in specific relationship
> to others, framing the context around concrete themes and easily recognized
> meanings? I wonder about the affective experiences we cannot quite
> articulate, visualize or explain which are nonetheless powerful factors that
> inform our feelings, attitudes, opinions, and actions, behavior, etc. How
> is this level of experience folded into so-called "locative media"?
>
> Another example from the subway . . . we seem to be informal experts at
> managing furtive glances or even outright stares as a form of observation
> through which we become attuned to social contexts and communications at
> verbal and non-verbal levels. These are highly localized, yet powerful
> sources of affective knowledge that extrapolate to more abstract levels of
> behavior and decision making. The information we are gleaning in these
> moments and how we make sense of it may remain relatively inchoate, even
> over long exposure or extended experiences with the same conditions, yet
> still they form a sense of place and identity at less self-conscious levels
> that may be more important than we think. Yet just to point to it isn't very
> compelling, and may even be self-defeating if the goal is to foster diverse
> levels of attention and affective experience. Is this kind of knowing and
> experience eclipsed by "data layers" that promise to add other dimensions to
> our social interactions in public space, even as they may dull our capacity
> for deeply attuned and embodied forms of social exchange?
>
> How can the virtual re-direct us to the non-virtual?
>
>
> On Thu, Jun 2, 2011 at 3:49 PM, <hight@34n118w.net> wrote:
>
>> Vicki,
>>
>> I love the title "Echology". echo/ecology=data and even feedback loop
>>
>> It sounds fascinating and very timely. I have studied meteorology and
>> climatology since I was a little kid and Australia in the last year has
>> had some wild events. Yassi comes to mind first, but also the unusual
>> inland flooding both in the east and in the west central dry regions that
>> had a temporary lake. The effects of La Nina and arguably climate change
>> have been immense and wide ranging to the extreme there. As I write we are
>> expecting a storm in a few days to bring up to 2 inches of rain in parts
>> of northern california which is unheard of in June (some all time records
>> are .89 inches down to near a trace).
>>
>> I would love to know what you and other yasminers think of data and how it
>> is timely in relation to larger issues and concerns. I think right away
>> of archiving and older platforms and hardware as well as the work being
>> down by the Buckminster Fuller Insitute and the recent challenge winners
>> among a wide array of ecological and semiotic concerns around data and
>> measure.
>>
>> best,
>>
>> Jeremy
>>
>>
>>
>>> 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).
>>>
>>>
>>>
>>>
>>>
>>>
>>>
>>>
>>> _______________________________________________
>>> 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.
>>
>
>
> ------------------------------
>
> _______________________________________________
> 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 118, Issue 1
> **************************************************
>
>
>
> ------------------------------
>
> _______________________________________________
> 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 122, Issue 1
> **************************************************
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[Yasmin_discussions] Art agency and its constitution (roger malina) (Georges Rabbath)

Dear Deena,

Thank you for the invitation. If you believe Okwui Enwezor's last paper in artforum politics has little to learn from art. I agree with his statement and I think that the artworld will be learning from politics and the people in the street. I also believe that texts and ideas can no longer afford not having a performative, real world application, and that the discussion cannot be confined to exchanges of texts especially when you're dealing with politics.

These two recent texts illustrate my thoughts and actions on the matter and relate to a project that has been launched at the Venice Biennale in June. I really believe that Biennials, especially the Venice Biennale offer a space to explore new political models through art.

Re: Ai Weiwei and Sharjah Biennial 10 by Jujunakinow (06.08.11 07:48 am)
If I may be so bold, the questions asked in Okwui's paper will unfailingly fall short of real answers. Whatever questions asked by confirmed artists or confirmed curators of the likes of Okwui, such questions will always already have lost their original apparent purpose to be repurposed as another interesting, thought provoking text published in ARTFORUM under one of the headings etc. The reader would read it, think for a while, and ponder how relatively wise the author is, and move down the road.
As with what is happening in the street, the real questions should frankly be asked by non-branded names with no real track record. Only then would they be taken at face value. There is an endeavor of the sorts that sprung up in the Lebanese art scene recently self-institutionalizing art scene which might be of interest. This specific art scene still holds opportunities for outside intervention althewhile being connected to the regional and international art communities.
It goes without saying that outside intervention should be ultimately met by a reaction from within, such a reaction would be tantamount to the level of authentic critical discourse. A great part of this is hypothetical of course, suffice to say that Okwui was contacted about such an endeavor with no real response in fact.

Date: Wed, 08 Jun 2011 06:07:05 +0000
From: "Georges Rabbath" <georges.rabbath@gmail.com>
Subject: [Yasmin_discussions] 1. Art agency and its constitution
(roger malina)
To: <yasmin_discussions@estia.media.uoa.gr>
Message-ID: <4def1189.634dec0a.59c6.0748@mx.google.com>
Content-Type: TEXT/PLAIN; charset=UTF-8

I would like to try a performative discussion about agency where respondents would be involved in simple actions on the grounds wherever they might be in the world. I would begin with myself of course.

Agency in art is a pressing problem with the intrusion and dissemination of artistic production in general media as well as in scientific fields. New media has helped develop artistic pratice away from the object (not too far mind you) and towards the process.

At least this is what it looks like from inside the artworld which brings us to the question of agency: when the artwork is fulfilled in the process, the artist's status as producer is put into question. This not a new problem, however the increasing commodification and the archaic relation to the means of production in the artworld is widening a gap between the artist's discourse and action mostly because of the branding of the artist's name.

This brings us to the importance of the performative treatment of the present issue.
If we are dealing with agency in art -or through art- the discussion itself has to be part of the process and therefore performative.

We cannot deal with art from an external standpoint. There is no possible critical distance. This has the logical consequence of empowering the viewer allthewhile creating a tension and dissensus with the actual and continued practices in art where names refer to a limited number of people identified as the producer or artist.

thestateofmind.be initiative came to be with no clear artistic authorship. It is a relational space that changes form with new additions and actions. The website is not the space, rather the relation to the question of agency in art and its performative treatment.

In that respect the thought process generated by the discussion should have a performative part through specific actions by the respondents.

I would begin myself as I stated, and relay the proposals or responses of the respondents through live web video streaming in order to transfer the theoretical proposition in text format into a performative visual format.

Georges Rabbath

On 8 juin 2011, at 23:06, Deena Chalabi <dchalabi@qma.org.qa> wrote:

> Dear Georges,
>
> Mathaf: Arab Museum of Modern Art would like to invite you to participate in a quick thought experiment this week. We are hoping to publish a group notebook—a composite journal of ideas—capturing our community's current thinking and projections for the future. We want to hear your response, either written or visual, to the question:
>
> What can politics learn from art?
>
> We have been thinking a lot about the enabling power of 'interference' – not so much in the sense of the usual negative interference of foreign bodies in public affairs, or censorship, or any other kind of reactive force that imposes restrictions, but instead a proactive crossing of borders and obstacles, summoning productive moments of change or growth.
>
> Your initial thoughts to our question are the most valuable, and feel free to respond in any of a number of ways. Write us a paragraph or a list. Scan us an illustration or a mindmap. Or send us something you've done before: an image of an artwork or an excerpt from a written piece that you'd like to share instead (up to 300 words please).
>
> We are hoping to collect everything by this Friday, June 10th. Although it's very soon, we hope you can find a few minutes to share your thoughts.
>
> We hope to publish the responses online and also in a small print volume in early July, to coincide with a pop-up version of Mathaf at the ICA in London called Interference, a weekend of talks and workshops, among other activities. If you are able attend these events, we would love to see you. More details to follow soon.
>
> In the meantime, we look forward to your ideas.
>
> All best wishes,
>
> Deena
>
>
>
>
> دعوة إلى الأفكار: كيف يمكنُ للسياسةِ أن تستفيد من الفن؟
>
>
> يدعوكم 'متحف': المتحف العربي للفن الحديث، للمشاركة في تجربة فكرية هذا الأسبوع. نحن نأمل في نشر مفكرة جماعية؛ صحيفة تحوي مزيجًا من الأفكار - تلتقط تفكيرَنا الحالي حِيالَ المجتمع وتوقعاتنا للمستقبل. نودُّ أن نسمعَ إجاباتِكم، سواءً مكتوبةً أو مرئيَّةً، على السؤالِ العنوان: كيف يمكنُ للسياسةِ أن تستفيد من الفن؟
>
>
> لقد ظللنا نفكرُ كثيرًا بشأن القوة المكينة للـ"تدخل" – ليس بالمعنى السلبي الذي كثيرًا ما يتبادرُ إلى الذهن من تدخل هيئات أجنبية في الشؤون العامة، أو الرقابة، أو أي نوعٍ آخر من قوة ردود الأفعال الباطشة التي تفرضُ القيودَ، لكن بدلا من ذلك نعني عبورًا استباقيًّا للحدود والعقبات، مُستدعيًا لحظاتٍ مثمرة من التغييرِ والازدهار.
>
>
> أفكارُكُمُ الأولية حِيالَ سؤالِنا هي الأكثرُ قيمةً، لذا فلا تترددوا في الردِّ بأي وسيلةٍ من الوسائل المتاحةِ. اكتبوا لنا فقرة أو قائمة. أرسلوا لنا رسومًا إيضاحيةً أو خريطة ذهنية بالماسح الضوئي (الاسكانر).أو أرسلوا لنا شيئًا قمتم بعمله من قبل: صورةً من عملٍ فني أو مقتطفًا من قطعةٍ مكتوبةٍ تحبون أن تشاركوا بها بدلًا من ذلك.
>
>
> آخر موعد للمشاركة هو نهاية الأسبوع الحالي – الجمعة العاشر من يونيو. وعلى الرغم من قربه، إلا أنه يحدونا الأملُ في أنكم ستجدون دقائق معدودات تشاركونا فيها أفكارَكم.
>
>
> نأمل في نشرِ ردودِكم على الانترنت وأيضًا في مجلدٍ صغيرٍ الحجم يصدُرُ في أوائل شهر يوليو ليتزامنَ مع نسخةٍ منبثقةٍ من المتحف في ال ICAبلندن تحت عنوان تدخل والتي ستتزامن مع عطلة نهاية أسبوع مفعمة بالمحادثات وورش عمل، بالإضافة إلى أنشطةٍ أخرى. إذا كان بمقدوركم حضور وقائع تدخل فسنسعد قطعًا برؤياكم. ترقبوا مزيدًا من التفصيلات لاحقا.
>
>
> وفي هذه الأثناء، نتطلع لأفكاركم.
>
> مع أطيب الأمنيات
>
> دينا
>
>
> Deena Chalabi
> Head of Strategy
> Mathaf: Arab Museum of Modern Art
> Qatar Museums Authority
> www.mathaf.org.qa

G. H. Rabbath

On 8 juin 2011, at 10:11, yasmin_discussions-request@estia.media.uoa.gr wrote:

> Send Yasmin_discussions mailing list submissions to
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>
> THIS IS THE YASMIN-DISCUSSIONS DAILY DIGEST
>
> Today's Topics:
>
> 1. 1. Art agency and its constitution (roger malina)
> (Georges Rabbath)
>
>
> ----------------------------------------------------------------------
>
> Message: 1
> Date: Wed, 08 Jun 2011 06:07:05 +0000
> From: "Georges Rabbath" <georges.rabbath@gmail.com>
> Subject: [Yasmin_discussions] 1. Art agency and its constitution
> (roger malina)
> To: <yasmin_discussions@estia.media.uoa.gr>
> Message-ID: <4def1189.634dec0a.59c6.0748@mx.google.com>
> Content-Type: TEXT/PLAIN; charset=UTF-8
>
> This GH. Rabbath signing in. Please excuse me for this long delay.
>
> I would like to try a performative discussion about agency where respondents would be involved in simple actions on the grounds wherever they might be in the world. I would begin with myself of course.
>
> Agency in art is a pressing problem with the intrusion and diss?mination of artistic production in general media as well as in scientific fields. New media has helped develop artistic pratice away from the object (not too far mind you) and towards the process.
>
> At least this is what it looks like from inside the artworld which brings us to the question of agency: when the artwork is fulfilled in the process, the artist's status as producer is put into question. This not a new problem, however the increasing commodification and the archaic relation to the means of production in the artworld is widening a gap between the artist's discourse and action because of the branding of the artist's name.
>
> This brings us to the importance of the performative treatment of the present issue.
> If we are dealing with agency in art or through art the discussion itself has be part of the process and therefore performative.
>
> We cannot deal with art from an external standpoint. There is no possible critical distance. This has the logical consequence of empowering the viewer allthewhile creating a tension and dissensus with the actual and continued practices in art where names refer a limited number of people identified as the producer or artist.
>
> thestateofmind.be initiative came to be with no clear artistic authorship. It is a relational that changes form with new additions and actions. The website is not the space, rather the relation to question of agency in art and its performative treatment.
>
> In that respect the thought process generated by the discussion should have a performative part through specific actions by the respondents.
>
> I would begin myself as offered, and relay the proposal or response on the bambuser account in order transfer the theoretical proposition into a performative stance.
>
> We are thestateofmind
>
>
>
> Georges Rabbath
>
>
>
> -----Original Message-----
> From: yasmin_discussions-request@estia.media.uoa.gr
> Sent: 03/06/2011, 2:20 PM
> To: yasmin_discussions@estia.media.uoa.gr
> Subject: Yasmin_discussions Digest, Vol 118, Issue 1
>
>
> Send Yasmin_discussions mailing list submissions to
> yasmin_discussions@estia.media.uoa.gr
>
> To subscribe or unsubscribe via the World Wide Web, visit
> http://estia.media.uoa.gr/mailman/listinfo/yasmin_discussions
> or, via email, send a message with subject or body 'help' to
> yasmin_discussions-request@estia.media.uoa.gr
>
> You can reach the person managing the list at
> yasmin_discussions-owner@estia.media.uoa.gr
>
> When replying, please edit your Subject line so it is more specific
> than "Re: Contents of Yasmin_discussions digest..."
>
>
> THIS IS A DAILY DIGEST BY YASMIN_ANNOUNCEMENTS
>
> Today's Topics:
>
> 1. Art agency and its constitution (roger malina)
> 2. grading the lebanese constitution (roger malina)
> 3. Re: Boundaries (hight@34n118w.net)
> 4. Living data (Lisa Roberts)
> 5. Re: Boundaries (teri rueb)
>
>
> ----------------------------------------------------------------------
>
> Message: 1
> Date: Thu, 2 Jun 2011 13:42:28 +0200
> From: roger malina <rmalina@alum.mit.edu>
> Subject: [Yasmin_discussions] art agency and its constitution
> To: YASMIN DISCUSSIONS <Yasmin_discussions@estia.media.uoa.gr>
> Message-ID: <BANLkTikh2x-mY7SzE5j25zD+5eph07jh7g@mail.gmail.com>
> Content-Type: text/plain; charset=UTF-8
>
> yasminers
>
> the venice biennale activities are under way= goerge
> rabbath and team are reporting daily on their\blog =we hope
> you will contribute
>
> roger
>
> http://thestateofmind.be/
>
>
> With the current change in Middle-Eastern and North African countries,
>>> it has become clear that the use of new media has apparently given
>>> people the power to change status quos. This new (media) kind of
>>> freedom is being addressed by attempts by governments to control the
>>> web and exert better censorship and press intimidation. At the same
>>> time the exercise of freedom of speech through new media gives rise to
>>> new questions about the close relation to freedom and chaos.
>>>
>>> A R A B means W E S T, the words ??? (Arab) and ??? (West) have the
>>> same root. The A R A B S were named thus because they were to the west
>>> of the Assyrians. It so happens that this name has come to give E U R
>>> O P E its name through the myth of Europa, being kidnapped by Zeus
>>> from kingdom of Tyre and ending up in an island at equal distance of
>>> East and West. Being A R A B has become an allegory of change.
>>>
>>> Change is happening, the question is whether change entails freedom or
>>> whether it just refers to the unpredictability of chaos. The growing
>>> aspect of participation in contemporary art, questions under new light
>>> whether artistic practice per se, entails conditions of freedom, or
>>> whether it stops at agency. Agency is a notion closely tied to that of
>>> freedom. When we refer to agency, we usually combine the two words and
>>> say free agency. But we sometimes use this term to refer to freedom as
>>> well as agency. T H E A R A B S T A T E S O F M I N D is the
>>> performative displacement, and the conceptual wandering of the ?State
>>> of Mind? exhibition projected in Venice in June 2011.
>
> http://thestateofmind.be/
>
>
>
> ------------------------------
>
> Message: 2
> Date: Thu, 2 Jun 2011 13:48:44 +0200
> From: roger malina <rmalina@alum.mit.edu>
> Subject: [Yasmin_discussions] grading the lebanese constitution
> To: YASMIN DISCUSSIONS <Yasmin_discussions@estia.media.uoa.gr>
> Message-ID: <BANLkTimyA0nhV2ZyfUD1yRSBt7vJCrphng@mail.gmail.com>
> Content-Type: text/plain; charset=ISO-8859-1
>
> yasminers
>
> 187 of you have now graded the Lebanese Constitution and it
> is currently rated at:
>
> 11.20320855615 out of 20
>
> http://www.dastooronline.com/
>
> 'Grading the Lebanese Constitution' is a web based project by Ricardo
> Mbarkho where people can make anonymous grading for any and every
> article of the actual Lebanese Constitution. An Overall Average Grade
> is constantly displayed and updated. This grading centered project
> with its mass evaluation process implies different ways of reading the
> numbers and graphs of all the statistical results. It's a work that
> deals with data interpretation to offer multiple analysis levels
> relative to our emotional and rational attitude toward the
> Constitution.
>
> http://www.dastooronline.com/
>
> Roger
>
>
> ------------------------------
>
> Message: 3
> Date: Thu, 2 Jun 2011 12:49:37 -0700
> From: hight@34n118w.net
> Subject: Re: [Yasmin_discussions] Boundaries
> To: yasmin_discussions@estia.media.uoa.gr
> Message-ID:
> <9ae6cb0d361bc4a7baff336fdaa30a2c.squirrel@webmail.34n118w.net>
> Content-Type: text/plain;charset=iso-8859-1
>
> Vicki,
>
> I love the title "Echology". echo/ecology=data and even feedback loop
>
> It sounds fascinating and very timely. I have studied meteorology and
> climatology since I was a little kid and Australia in the last year has
> had some wild events. Yassi comes to mind first, but also the unusual
> inland flooding both in the east and in the west central dry regions that
> had a temporary lake. The effects of La Nina and arguably climate change
> have been immense and wide ranging to the extreme there. As I write we are
> expecting a storm in a few days to bring up to 2 inches of rain in parts
> of northern california which is unheard of in June (some all time records
> are .89 inches down to near a trace).
>
> I would love to know what you and other yasminers think of data and how it
> is timely in relation to larger issues and concerns. I think right away
> of archiving and older platforms and hardware as well as the work being
> down by the Buckminster Fuller Insitute and the recent challenge winners
> among a wide array of ecological and semiotic concerns around data and
> measure.
>
> best,
>
> Jeremy
>
>
>
>> 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).
>>
>>
>>
>>
>>
>>
>>
>>
>> _______________________________________________
>> 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,
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>> HOW TO UNSUBSCRIBE: on the info page, scroll all the way down and enter
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>> Digest Mode" option and set it to either on or off.
>>
>
>
>
>
>
> ------------------------------
>
> Message: 4
> Date: Fri, 3 Jun 2011 08:04:42 +1000
> From: Lisa Roberts <lisa@lisaroberts.com.au>
> Subject: [Yasmin_discussions] Living data
> To: YASMIN DISCUSSIONS <yasmin_discussions@estia.media.uoa.gr>
> Message-ID: <20110603080442.14cafb9a@lisa-desktop>
> Content-Type: text/plain; charset=US-ASCII
>
> Yasminers,
>
> I am interested to read Vikki's post, particularly have
> experienced last week's VIVID event. I too have observed a growing
> number of artists who are attracted to working with data. The word
> data seems to have gathered around it an appeal that goes beyond its
> definition as mere measurements and statistics.
>
> The VIVID event comprised many small
> and large scale light projections. At the launch it was was promoted
> as a Design event that was innovative, sustainable and creative.
> Individual statements by designers and design companies made references
> to their innovative projections of data. Was it innovative? Apart
> from the fact that LED lights are now replacing incandescent lighting
> forms, many of the works appeared to collect and project the same old
> data (random movements of people) in the same old ways (through motion,
> heat or light sensors). Sustainable? The scale of the event was so huge
> it made me wonder about its carbon footprint. Creative? Creativity has
> no clear definition, but I had to ask, How does such work contribute
> to creating a more sustainable world?
>
> However, VIVID gave many people pleasure. It was, quite simply
> seductive colour and movement. It brought people together in a
> space and made us think and talk. I was seduced by the beauty of
> the works and stimulated by discussions that they led to. One
> discussion was about how there are artists and scientists
> who have an interest in connecting many people to data that has more
> meaning than random human actions. We agreed that there is a
> place for designers to develop such displays, but a need for
> connections to be made between them and artists and scientists.
>
> Such connections are starting to be made at UTS, and I am keen to know
> of other places where this is happening.
>
> At UTS this year, a confluence of interests naturally arose between
> me, a climate change scientist and an artist who works with data. This
> has led to a new research project, Living data: How animation can bring
> scientific data to life, which I will lead through the Climate Change
> Cluster (C3) in the Faculty of Scientists. I will work with
> plankton ecologist Martina Doblin (PhD UTS) and artist and data
> visualizer Gail Kenning (PhD UNSW). Students and their tutors at UTS and
> other universities in Australia and overseas will be offered
> opportunities to participate in the research through field trips,
> workshops, exhibitions, conferences, publications and the on-line
> research journal.
>
> Please read the Project Outline below and let us know if you would like
> us to us keep you posted of our progress.
>
> Project Outline
>
> The need to communicate accurate and accessible information about the
> integral connections between human actions and the global ecosystem is
> urgent. As artists and scientists we propose a two-year program of
> research into how art and science methods can be used to make digital
> animations that present scientific data in ways that can expand
> awareness of the place of humans within the natural systems. A visual
> language of archetypal forms used in art and science to describe
> feelings of connection and forces of change in the natural world will
> be combined. Animations that appeal to the senses and intellect will
> give new meanings to climate change data by connecting them to human
> experience. Animations will be made accessible from a free on-line
> archive and distributed widely. Our research will model a new
> pedagogical framework for teaching and learning that reflects our view
> of the world as a dynamic integrated whole.
>
> Roberts, L; Doblin, M.; Kenning, G. May 2011
>
> ---------------------------
>
> Lisa Roberts, PhD Fine Arts (UNSW)
>
> www.lisaroberts.com.au
> www.antarcticanimation.com
>
> Post:-
> PO Box 486
> Newtown NSW
> Australia 2042
>
> Tel. +61 2 9550 2806
> Mob. 0428 502 805
>
>
> ------------------------------
>
> Message: 5
> Date: Thu, 2 Jun 2011 19:31:37 -0400
> From: teri rueb <terirueb@gmail.com>
> Subject: Re: [Yasmin_discussions] Boundaries
> To: YASMIN DISCUSSIONS <yasmin_discussions@estia.media.uoa.gr>
> Message-ID: <BANLkTikxvmGebGpPBRC-9=5LiQjBeHmDDg@mail.gmail.com>
> Content-Type: text/plain; charset=ISO-8859-1
>
> Hi All,
>
> Happy to be a new Yasminer! And sorry to be so late in jumping into this
> discussion - I have been busy writing a very long paper. Finally done. I
> hope I am not introducing too much of a non sequitur with this comment.
>
> Roger wrote:
>
> 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
>
> I wonder:
>
> What about the phenomena that we only have abstract awareness of that lies
> right in plain view and sensible without aid or "visualization," yet resists
> quantification or reduction to mediated representations? Do mediated
> overlays of data sets possibly eclipse or dull our senses to such rich
> information? How might the capacity to direct movement and gaze or
> attention - also critical capacities of locative media - be used to bring us
> back to the fundamental experience of our own embodiment that is so often
> pushed to the margins of our consciousness as we seek evermore data
> "enhanced" experiences, often tailored to data-obsessed, media-attuned
> sensibilities?
>
> I also am drawn to think about the ways that "layers and layers" of data may
> actually distance us from the richness of ambiguous, yet ubiquitous,
> phenomena that give richness to interaction in public spaces - the level of
> conscious and unconscious apprehension of our surroundings that "places" us
> in relation to environment and other inhabitants. For example, the smells
> in a crowded subway car that shift with the rocking of cars and bodies, the
> sources of such smells ranging from the fuel or electric power of the
> infrastructure, the materials of the train itself, to the smells of hair
> products, laundry detergent, food, sweat, urine, etc. - all of which inform
> our sense of identity, placing us and displacing us in the moment, location,
> and social context. Displacement may be even more important to challenging
> who we are and what unites and divides us in public, personal and private
> space, yet how do data overlays facilitate such displacements - especially
> since most are intent upon fixing us in space, or in specific relationship
> to others, framing the context around concrete themes and easily recognized
> meanings? I wonder about the affective experiences we cannot quite
> articulate, visualize or explain which are nonetheless powerful factors that
> inform our feelings, attitudes, opinions, and actions, behavior, etc. How
> is this level of experience folded into so-called "locative media"?
>
> Another example from the subway . . . we seem to be informal experts at
> managing furtive glances or even outright stares as a form of observation
> through which we become attuned to social contexts and communications at
> verbal and non-verbal levels. These are highly localized, yet powerful
> sources of affective knowledge that extrapolate to more abstract levels of
> behavior and decision making. The information we are gleaning in these
> moments and how we make sense of it may remain relatively inchoate, even
> over long exposure or extended experiences with the same conditions, yet
> still they form a sense of place and identity at less self-conscious levels
> that may be more important than we think. Yet just to point to it isn't very
> compelling, and may even be self-defeating if the goal is to foster diverse
> levels of attention and affective experience. Is this kind of knowing and
> experience eclipsed by "data layers" that promise to add other dimensions to
> our social interactions in public space, even as they may dull our capacity
> for deeply attuned and embodied forms of social exchange?
>
> How can the virtual re-direct us to the non-virtual?
>
>
> On Thu, Jun 2, 2011 at 3:49 PM, <hight@34n118w.net> wrote:
>
>> Vicki,
>>
>> I love the title "Echology". echo/ecology=data and even feedback loop
>>
>> It sounds fascinating and very timely. I have studied meteorology and
>> climatology since I was a little kid and Australia in the last year has
>> had some wild events. Yassi comes to mind first, but also the unusual
>> inland flooding both in the east and in the west central dry regions that
>> had a temporary lake. The effects of La Nina and arguably climate change
>> have been immense and wide ranging to the extreme there. As I write we are
>> expecting a storm in a few days to bring up to 2 inches of rain in parts
>> of northern california which is unheard of in June (some all time records
>> are .89 inches down to near a trace).
>>
>> I would love to know what you and other yasminers think of data and how it
>> is timely in relation to larger issues and concerns. I think right away
>> of archiving and older platforms and hardware as well as the work being
>> down by the Buckminster Fuller Insitute and the recent challenge winners
>> among a wide array of ecological and semiotic concerns around data and
>> measure.
>>
>> best,
>>
>> Jeremy
>>
>>
>>
>>> 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).
>>>
>>>
>>>
>>>
>>>
>>>
>>>
>>>
>>> _______________________________________________
>>> 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.
>>
>
>
> ------------------------------
>
> _______________________________________________
> 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 118, Issue 1
> **************************************************
>
>
>
> ------------------------------
>
> _______________________________________________
> 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 122, Issue 1
> **************************************************
_______________________________________________
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.