[Yasmin_announcements] new Neural issue #33, Scripting Green

The new printed Neural issue #33, "Scripting Green" is available.
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[Neural #33 contents]
http://www.neural.it/art/2009/04/post_3.phtml
. . . . . . . . . . . . . . . . . . . . . . . . .
<new.media.art>
. Amy Franceschini / Futurefarmers interview,
. Beatriz da Costa interview,
. HeHe interview,
. Transmediale report,
.news: X-Train, Dead Pixel in Google
Earth, TimeStopper,
Suffering Machine, Thumbarumba.
.reviews:
.. books/dvds: White Heat Cold Logic,
Optical Vacuum,
New Media in
the White Cube and Beyond,
Synthetic
Times: Media Art China,
nkdlunch.mp4,
tapetrff.mp4.
.centerfold: 'Common Flowers' by
S.Fukuhara and G.Tremmel.
. . . . . . . . . . . . . . . . . . . . . . . . .
<e.music>
. Jacob Kirkegaard interview,
. The Owl Project interview,
. news: MusMusopen, Decryptopattern, Sound Chaser, Strobovj,
Felix's Machines.
. reviews:
.. books/dvds/floppys: The Movement of People Working, Nocturne,
Trax
Rednight/Notterossa, Explicit Content Only,
Harmonic Ratio.
.. cd: AtomTM, Shinkei / Luigi Turra, Pioneers-The
Beginning Of Danish
Electronic Music, Domenico Sciajno, Yaco,
Monoton, DNE, Phroq,
Rhythm, Muslimgauze, Ibitsu, Michael Peters,
Israel M, Mikhail,
Source Records 1-6 Music Of The Avant Garde
1968-1971, Pato
Thanos Chrysakis, The Smiling Buddhas, Frank Rothkamm,
Nicolas Bernier).
. . . . . . . . . . . . . . . . . . . . . . . . .
<hacktivism>
. Guerrilla Gardening interview,
. Esther Polak interview,
. Eco-Pornography and the Alt-Economy,
. news Wikileaks, Internet-avgift, Bicycle Built
for Two Thousand,
Oil Prospecting, Feral Trade.
.. books: FLOSS+Art, Wizzywig, volume 1: phreak,
volume 2:hacker,
Cyberchiefs, Animal Spirits,
Experimental Geography,

--

Alessandro Ludovico
Neural Magazine - English (http://neural.it/) Italian
(http://www.neural.it/neural_it/)
Latest Printed Issue - http://www.neural.it/art/2008/03/neural_29.phtml
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Re: [Yasmin_discussions] Art and Atoms: Fusion and Fission

Hello Yasminers

Interesting discussion about Art and Atoms.
Sorry to go back in a time to Hugos post.

> First of all, I would like to say everything is connected somehow in my
> opinion. This search of relations is what allows me to open my mind and
> play (very important concept in arts).
The relationship of art to atoms has a long history.
For my own part I was interested in the work of the Italian futurist
Boccioni (as an artist influenced by Bergson) who visualised the
connectivity of matter.

But looking back at art history from this point in time our nano mediated
perception changes our conscious understanding of the past and being in the
world now. Nano art as a form needs time to explore relationships to the
technology that creates these new understandings. In the same way artists
are using emerging technologies to explore relevant ways to express and
represents Nano art.

I also wanted to bring to your attention an exhibition though it is not
directly talking about fusion and fission but might be of interest.

Art in the age of nanotechnology
24 September - 29 November
The unique works developed for art in the age of nanotechnology will operate
at the intersection of art, science, technology, demonstrating innovative
examples of contemporary art and scientific collaboration.

The exhibition will comprise of a series of collaborative projects designed
to challenge, explore and critique our understanding of the material world
and will bring together artists and scientists from the around the world to
present new ways of seeing, sensing and connecting with matter that's
miniscule and abstract.

The exhibition will feature internationally-recognised artists and
scientists such as Christa Sommerer (Austria) and Laurent Mignonneau
(France); Anne Niemetz (NZ)and Andrew Pelling (Canada); Paul Thomas (Aus) &
Kevin Raxworthy (Aus); Mike Philips (UK); Boo Chapple (Aus) & William Wong
(Aus); and Victoria Vesna (USA) & James Gimzewski (USA).

http://johncurtingallery.curtin.edu.au/exhibitions/future.cfm

All the best

Paul

On 12/06/09 11:36 PM, "hugo martinez-tormo" <hugo@hugomartineztormo.es>
wrote:

> Hello yasminers.
>
> First of all, I would like to thank Guillermo for his invitation to this
> discussion about arts and atoms, and to comment and share part of my work
> also. Such a nice guy.
>
> First of all, I would like to say everything is connected somehow in my
> opinion. This search of relations is what allows me to open my mind and
> play (very important concept in arts). Between atoms, its interactions,
> properties, features and what we can see, what surrounds us, what we are,
> it exists connections. Everything is connected, directly or indirectly.
>
> Regarding to the term nanorealism, this is a concept I have developed due
> to all contradictions and superficiality around the nanoart concept I
> found. Something similar between Pop art developed in USA and European
> Nouveau Réalisme of Klein, Arman, Manzoni o César. Same purpose but
> radically opposite ways. Pop art was always far more direct and it had
> lighter visual concept, closer to mass perception. However, interests
> around Europe were not the same, but manners were different. They wanted
> to go back to reality in opposition to abstract painting lyricism but
> avoiding the figuration in arts; offering a new vision of the world around
> them. That¹s, more or less, what is happening here with term
> ³nanorealism², taking more reference from concept than shape, from content
> than container. In my opinion, someone who takes an electronic sweep photo
> and then colours it in photoshop or uses real images of the matter in
> nanometric scale is not enough. Artists may arouse new sensations in
> people, to show how we sense or perceive the world with a personal point
> of view and different from any other, that is why I see much more
> interesting to deal with concepts directly, like going into the matter and
> energy properties and phenomenon in a nanometric scale to communicate
> feelings, perceptions or situations which can be found in our human being
> scale, for example.
>
> A good example to visualize what I¹m saying is the atomic fusion and
> fission. Why to present fusion instead of represent it? In the great
> majority of artistic art pieces which talk about this topic is visualized
> the typical huge mushroom shape as the produces by the explosion. In arts
> world, would it not be better to work, think and go into fusion and
> fission concept in depth to produce an art piece? Why not to take the
> meaning of union, unification to communicate fusion? This thinking could
> drive us into interdisciplinarity, or even better, into multidiscilinarity
> expressed in an only art piece to communicate fusion concept. The
> execution of an art piece using several artistic disciplines together
> would bring the concept of fusion into a different scale, keeping original
> concept. Conceptually, as thinking in the Theory of Everything, which
> tends to unify and connect, or to fusion, in just one theory all physic
> phenomena or fundamental interactions in nature: gravity, the strong
> nuclear force, the weak nuclear force, and the electromagnetic force.
> Would it not be the biggest example of fusion?
>
> Personally I consider the concept of fission is present in my job, but
> instead of divide a heavy core in two or more small cores, plus some
> derivatives, I prefer to be focus on molecules, because the way to talk
> about a molecule is to deconstruct, or fission, until I get primary
> components, and from that point I build a personal imaginary. That is why
> I feel identify with the topic of the discussion somehow.
>
> I will follow the discussion attentively and visiting posts you all
> attach, due to there are so interesting.
>
> Hugo.
>
>
>
>
>
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[Yasmin_announcements] Tina Gonsalves, Chameleon Project, Natural History Museum.

>Date: Thu, 25 Jun 2009 13:29:17 +0100
>From: tina gonsalves <tina@TINAGONSALVES.COM>
>Subject:Tina Gonsalves, Chameleon Project, Natural History Museum.
>
>After Darwin: Contemporary Expressions
>
>Natural History Museum, Jerwood Gallery, London
>
>After Darwin: Contemporary Expressions will
>feature work from artists and writers who
>explore Charles Darwin's book The Expression of
>the Emotions in Man and Animals in which Darwin
>examined the continuity of emotional states of
>animals and humans.
>
>Tina Gonsalves will be exhibiting the Chameleon
>Project, prototype 06, a 12 channel video work
>exploring emotional contagion. New film and
>installation commissions from Diana Thater,
>Jeremy Deller and Matthew Killip in
>collaboration with Richard Wiseman will be shown
>alongside existing video work by Bill Viola. New
>literature, commissioned from award-winning
>authors Mark Haddon and Darwin's
>great-great-granddaughter, Ruth Padel, will also
>form part of the exhibition. These works
>investigate today's cultural perspectives on
>human-animal kinship and the study of emotional
>expressions and offer a contemporary take on
>Darwin's challenge to the place humans occupy in
>nature.
>
>A publication, Expressions: From Darwin to
>Contemporary Arts will accompany the exhibition.
>It features new writing by Swedish author Aris
>Fioretos, essays from Julia Voss, Jonah Lehrer
>and a response to Mark Haddon's work by leading
>neuroscientist António Damásio as well as
>information on all the works in the exhibition.
>
>The Chameleon Project (2008-2010), built over
>ten prototypes, is a collaboration between
>artist Tina Gonsalves, neuroscientists Chris
>Frith and Hugo Critchley, affective computing
>scientists Rosalind Picard and Rana El Kaliouby,
>human computer interaction scientist Nadia
>Berthouze and curator Helen Sloan. Chameleon
>investigates the scientific foundations of
>emotional contagion, transforming it into an art
>experience. The project follows and critiques
>the scientific methodology, creating scientific
>and artistic research, as well as new models to
>be used in scientific experiments, and new ways
>to experience art.
>
>The Chameleon Project has been supported by the
>Wellcome Trust, Australia Council for the Arts,
>Australian Network for Art and Technology
>Synapse Residency, Arts Council England,
>Lighthouse, The Wellcome Department of
>Neuroimaging, The MIT Media Lab and Banff New
>Media Institute and SCAN.
>
>Bio:
>
>Tina Gonsalves creative investigations integrate
>art, science and technology to produce embodied,
>interactive, audiovisual works that offer new
>ways of experiencing the connection between our
>'internal' body and its external environment.
>She is currently honorary artist in residence at
>the Institute of Neurology, UK, visiting artist
>at the MIT Media Lab, USA and artist in
>residence at the Nokia Research Labs, Finland.
>
>http://www.tinagonsalves.com
>
>
>
>Visitor information
>
>
>
>Admission: adult, Gift Aid admission £6*
>
> concession, Gift Aid admission £4*
>
> child, Gift Aid admission £3*
>
> family, Gift Aid admission £16*
>
>Date: 26 June - 29 November 2009
>
>Venue: the Natural History Museum, Jerwood Gallery
>
>Opening hours: every day, 10.00-17.50
>
>Visitor enquiries: 020 7942 5000
>Monday-Friday, 020 7942 5011 Saturday-Sunday
>
>Website: www.nhm.ac.uk
>
>
>
>*If you are a UK taxpayer and pay the Gift Aid
>admission ticket price this allows the Natural
>History Museum to reclaim the tax on the whole
>ticket price you pay. For every £100 worth of
>tickets sold, we can claim an extra £28 from the
>Government. This means you can further support
>the work of the Natural History Museum. The
>standard admission charges are: adult £5.40,
>child £2.50, adult senior £3.50 and family £14.
>The right of entry is the same for visitors with
>or without the voluntary donation.

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[Yasmin_announcements] siva) (zona . grey) (area ::: Lemeh 42

>From: Darko Fritz <fritz.d@chello.nl>
>
>Subject: siva) (zona . grey) (area ::: Lemeh 42
>Date: Thu, 25 Jun 2009 19:32:28 +0200
>
>grey) (area - space of contemporary and media art, Korãula
>and
>3 Volta Gallery, Lumbarda
>presents
>
>Lemeh 42 (Italy): Flowers of Alhambra
>
>
>location: 3 Volta Gallery, Lumbarda
>
>29. 6. - 9. 7.
>
>opening Monday 29th June 21 h
>
>
>This work is freely inspired to Washington
>Irving's tale "The rose" included in "Tales of
>the Alhambra", a collection of tales written by
>Irving during his long staying at the Alhambra.
>The protagonist of this tale is a beautiful
>woman kidnapped by the sultan and imprisoned
>inside the Alhambra, the antique fortress where
>the sultan lived along with all his court. This
>Irving's tale is based on the foundamental
>metaphor between the woman imprisoned inside the
>Alhambra and the roses cultivated inside the
>Alhambra. The Alhambra, as a fortress, had to
>protect its inhabitants from all the possible
>external dangers and in doing so it standed as a
>wall that divided the external reality from the
>internal one; so forth, instead of protecting
>the Alhambra finished to isolate its inhabitants
>and instead of preserving it killed them. So, as
>the flower needs water and sun so the feminine
>beauty needs it. Our work is focused mainly on
>the main character, the protagonist, leaving
>aside all the other secondary characters of
>Irving's tale. We have done this in order to
>recreate this character from the internal. She
>feels trapped because her heart as well as her
>soul are trapped and the Alhambra becomes an
>extension of the protagonist.
>
>on-line video: http://www.vimeo.com/467753
>
>Lemeh 42: http://lemeh42.indivia.net
>
>-------------------------------------------------------
>
>open daily 20 - 21.30 h or by appointment
>
>contact: Darko Fritz darko@darkofritz.net / tel +31 [0] 91.5800193
>
>-------------------------------------------------------
>powered by kor::net (korãula::network)
>-------------------------------------------------------
>
>grey) (area program 2009: Lemeh 42 (Italy) .
>Petar Grimani (Croatia) . Ivan Marusic Klif
>(Croatia) . Toni Mestroviç
>(Croatia) . Samuel Cepeda (Mexico) . Nina
>Czegledy (Canada) and Marcus Neustetter (South
>Africa)
>
>participants in gray) (area program: Veaceslav
>Ahunov, (Uzbekistan), Abilsait Atabekov
>(Kazahstan), Dunja BlaÏeviç, Boris Cvjetanoviç
>(Zagreb), Gem Sqash (Adam Hyde and Ntsikelelo
>Ntshingila), Ulan Djaparov (Kazahstan), Ivan
>Faktor (Osijek), Faruk Lonãareviç (Bosnia and
>Hercegovina), Alban Muja (Kosova), Edita Pecotiç
>(Korãula / London), Ana Peraica (Split), PRO.BA
>(Bosnia and Hercegovina), Radioqalia (Adam Hyde
>and Honnor Hager, New Zealand), Lala Ra"ãiç
>(Sarajevo - Zagreb), Stefan Rusu (Moldavia /
>Romania), Tomo Saviç-Gecan (Zagreb - Amsterdam),
>Slaven Tolj (Dubrovnik), Transfer (Zagreb),
>Goran Trbuljak (Zagreb), Alexandr Ugay
>(Kazahstan), DraÏen Vitoloviç (Sovinjak /
>Rijeka) i Enes Zlatar (Bosnia and Hercegovina).
>
>
>
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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.

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[Yasmin_announcements] 30/6 19h Art Pollution Kit by Michal Kindernay & Gívan Belá @ OKNO/ Open Green

>Date: Fri, 26 Jun 2009 17:10:31 +0200
>To: okno@okno.be
>From: okno@okno.be
>Subject: [OKNO] 30/6 19h Art Pollution Kit by Michal Kinder
> nay & Gívan Belá @ OKNO/ Open Green
>
>OKNO - artist run organisation for art and media
>technology - Brussels
>
><http://okno.be/>http://okno.be
>
>
>ART POLLUTION KIT
>Michal Kindernay & Gívan Belá
>
>Dinsdag/Tuesday/Mardi, 30 June, 2009 19:00
>
>The Art Pollution Kit is a project geared at
>providing easy access to environmental data by
>using Arduino open source acquisition boards and
>specialized environmental sensors. Arists Michal
>Kindernay and Gívan Belá experiment with
>perceptual ideas about sound and visual
>pollution (using noisiness, speed of
>movement/change, and spectral spread). Currently
>they are working with humidity and temperature
>and working towards including readings of air
>quality, ozone, pressure, and windspeed. With
>The Art Pollution Kit, they work on algorithmic
>experiments with image and sound degradation,
>driven by the sensors, cameras and microphones.
>Over the coming months several new features will
>be added. Everyone interested is invited to join
>in to expand the initial setup as well as to
>develop data visualisations. The extended plan
>is to share the data expressions across
>geographic distances.
>
>Michal and Gívan Belá are currently working in
>OKNO. They will perform a short garden piece
>with their Art Pollution Kit on June 30th at 7pm.
>Free entrance.
>___________________
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[Yasmin_announcements] art science project news

yasminers

you will be interested to see this excellent example of an art
science project

roger

The mystery of what causes frogs to have missing or deformed limbs
remained unsolved until Sessions teamed up with colleague Brandon
Ballengee of the University of Plymouth, UK. They report their
findings in the Journal of Experimental Zoology Part B: Molecular and
Developmental Evolution.

For a decade, Ballengee and Sessions have collaborated on a series of
art and science projects that image amphibians' bodies to show the
detail within, the most recent of which is funded by the Arts Catalyst
organisation, based in London.

---------- Forwarded message ----------
From: Brandon Ballengee <obsoletestudios@gmail.com>
Date: Sat, Jun 27, 2009 at 8:04 PM
Subject: Our paper on the BBC!
To: bballengee@plymouth.ac.uk

Dear Friends,
Our Journal of Experimental Zoology Paper has come out (see attached)
and the BBC reported on it last week!

http://news.bbc.co.uk/earth/hi/earth_news/newsid_8116000/8116692.stm

Though they simplify our findings in the story, we have found what we
think is the primary mechanism behind the majority of limb deformities
in frogs!
The next challenge is to look at how environmental factors such as
degradation may alter otherwise natural predator/prey relationships!
We have a lot or work yet to do!
Currently, I have created a new lab at SAT in Montreal for the summer
to investigate this phenomenon in frogs in Quebec.
http://www.sat.qc.ca/post.php?id=40&year=2009&month=06&day=25&post_id=1802&lang=fr

Also, if you have time check out the recent interview in Antennae magazine
http://www.antennae.org.uk

best,
Brandon

--
Brandon Ballengée

www.greenmuseum.org/ballengee
www.artscatalyst.org/projects/global/ballengee.html
www.ecoartspace.org
www.archibaldarts.com
www.wavehill.org/arts/brandon_ballengee.html
www.disk-o.com/malamp/

Re: [Yasmin_discussions] artists and atoms: fission and fusion

yasminers

one other stort about use of nuclear explosions as art is the project , in which carl sagan was involved as a young man, to explode a device in the moon a show of force to friends and foes, the porject it seems whas discontinued when someone realized iy might be cloudy that day or people might not be looking up at that point, the risk of not havin the itended image impact killed the porject, fortunately..

the films in the perlinger arhives show well, hat is also known from other sources , that is that people were very much unaware of the effects of raditain (ie one film shows a scene where soliders that hve just witnessed an explosion drom a few km are carfully dusted off with a broom, while the voice says smothing about the many precautions ther ate taking

r

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