[Yasmin_discussions] Art and Atoms : Fusion and Fission

Dear Yasminers,

Today, in Le Monde (daily French newspaper) I read :

The medical imagerie (worldwide) threaten because of lack of
the nuclear material to do it. To be more precise, the
production capacities are decreasing due to repairs on the
few nuclear reactors in the world that produce this
material used among other things for cancer.

Interesting ....

For those of you who read French, here the article that
explains everything.
http://www.lemonde.fr/planete/article/2009/08/24/une-penurie-de-reactifs-menace-l-imagerie-medicale_1231313_3244.html

Annick
--

------------------------
Annick Bureaud (abureaud@gmail.com)
tel/fax : 33/(0)1 43 20 92 23
mobile/cell : 33/(0)6 86 77 65 76
Leonardo/Olats : http://www.olats.org
-------------------------

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Re: [Yasmin_discussions] collective genius

This debate begins to enter the mainstream. Please see this in the Guardian.
Seems UK politicians and journalists, as well as government policy makers,
are picking up on new(ish) thinking about networked and rhizomic identity.

http://www.guardian.co.uk/commentisfree/2009/aug/23/brain-society-politics

Best

Simon

Simon Biggs
Research Professor
edinburgh college of art
s.biggs@eca.ac.uk
www.eca.ac.uk
www.eca.ac.uk/circle/

simon@littlepig.org.uk
www.littlepig.org.uk
AIM/Skype: simonbiggsuk

From: Alec Robertson <alecr@dmu.ac.uk>
Reply-To: YASMIN DISCUSSIONS <yasmin_discussions@estia.media.uoa.gr>
Date: Mon, 24 Aug 2009 11:34:19 +0100
To: <muratgermen@sabanciuniv.edu>, YASMIN DISCUSSIONS
<yasmin_discussions@estia.media.uoa.gr>, YASMIN DISCUSSIONS
<yasmin_discussions@estia.media.uoa.gr>
Conversation: [Yasmin_discussions] collective genius
Subject: Re: [Yasmin_discussions] collective genius

Back from a holiday in sizzling Dubai, I am sorry that I missed much of the
discussion on collective genius.

My token contribution if of use now is below.

Collective genius seems part of the tensions between individualism and
collectivism evident in the field of Art&Design; the searcher vs the
re-searcher; talented anarchic individual vs trans-disciplinary team etc.
This can mirror macro political stances too eg. re-search culture in a way
mirrors communistic values, whereas the search culture of the anarchic
individual artist can mirror a contrary position.

Gathering people together to create emergence of 'genius' is not as easy as
it might seem. The notion that a individual neural network is likely to be
lesser than a network of neural networks is problematic because the
assumption is that the 'connections' are seemless. They are not. As in any
circuit, connections give rise to noise, breaks, interference etc. In a
collection of people differences in discipline terminology, attitudes etc.
can reduce a trans-disciplinary team - a network of neural networks to
merely a crowd, whereas the seemless connections within a single creative
neural network are super efficent, and perhaps more likely to give rise to
'genius'.

This topic is touched upon in a paper led by Dave Everitt (ref below) which
highlights the need for careful composition of creative collective effort.

Alec R (with factor 20 tan!)
www.4D-Dynamics.net

EVERITT, Dave., and ROBERTSON, Alec., 'Emergence and complexity,: Some
observations and reflections on trans-disciplinary research involving
performative contexts and new media' in International Journal of Performance
Arts and Digital Media. Volume 3, Issue 2&3, pp.239-252,
doi:10.1386/padm.3.2&3.281/1. Intellect Books. ISSN: 14794713

http://www.intellectbooks.co.uk/journals/view-Article,id=4964/

-----Original Message-----
From: yasmin_discussions-bounces@estia.media.uoa.gr on behalf of Murat
Germen
Sent: Tue 18/08/2009 13:39
To: YASMIN DISCUSSIONS
Subject: Re: [Yasmin_discussions] collective genius

roger,

couple of more things that somehow should matter within the realms of
collectivity and collaboration:

- collectivity does not necessarily have a physical boundary (not a
community, neighborhood, territory, etc.), does not necessarily have a
book (biblical, regulatory, constitutional, agreements of any sort in
written form, etc.), should be highly dynamic ans does not necessarily
form a clique, clan, brotherhood, fraternity, guild, society, union,
nation, civilization. this is why i love internet collectivity; the
first reason you are involved in a collective is very basic: you have
internet connection. the rest depends on your interests and your ability
to turn this into physical communication whenever possible and/or needed.

- a collective could be the "array of arrays" that are composed dynamic
definitions / coincidences / overlaps / concurrences / intersections /
convergences / etc. it is, in a way, a center of equal peripheries with
no center:) i did not know the great quote from the great marcel
duchamp, thanks for bringing it up: "... the artist is part of a larger
system in which his or her conscious intention forms a small part ..."
this is sort of what i mean by "center of equal peripheries with no center."

best,
murat

<<< +90 532 473 8970 (gsm mobile)
<<< http://www.muratgermen.com
<<< http://www.flickr.com/photos/muratgermen/
<<< http://muratgermen.wordpress.com/
<<< http://www.camgaleri.com/en/sanatci.aspx?id=27

On 17.08.2009 06:09, roger malina wrote:
> Murat
>
> I found interesting your IMECE connection and checked out the
> interesting web site for the event in turkey this october
>
> http://www.imece2009.anadolu.edu.tr/index.php?dil=en&icerik=konu
>
> "" Furthermore, it foregrounds certain concepts naturally available in
> "imece" practice such as solidarity, collaboration, experience
> sharing, common production, interaction and common use of public
> places in terms of their contribution to development of creativity. ""
>
>
> I think you make a good point about scale differences between
> collaborations , which usually involve smaller
> number of people, and collectives which can provide shared resources
> and infrastructurer for much larger
> communities of practice
>
> i just came across several interesting articles in the fall 2008 issue
> of Art Journal
> vol 67 nos: http://www.collegeart.org/artjournal/fall2008
>
> From Space to Environment: The Origins of Kankyo and the Emergence of
> Intermedia Art in Japan / Yoshimoto, Midori
>
> The Public Sensoriums of Pulsa: Cybernetic Abstraction and the
> Biopolitics of Urban Survival / McKee, Yates 46-67
>
> Steps to an Ecology of Communication: Radical Software, Dan Graham,
> and the Legacy of Gregory Bateson / Kaizen, William
>
>
> The first , by Midori Yoshimoto, about the japanese
> collective/collaboration describes the 1966 exibition involving 38
> artists who worked
> together to mount two exhibitions under the name of the Environment Society
>
> Pulsa was an american collective that exibited "unrestricted public
> experiments to redefine the urban environment ' ib boston and other
> cities in the eastern usa and their work is described in the text by
> Yates Mckee
>
> the third text ,(authored by william kaisen),includes some interesting
> discussion of the interaction of the media activist magazine radical
> software( the article discussses people such as frank gilette, paul
> ryan beryl korot,dan graham) but of relevance to our yasmin discussion
> a panel at
> the 1957 american federation of arts meeting in houston which included
> a panel with rudolf arnheim, stuart davis, marcel duchamp and
> particularly relevant gregory bateson
>
> the article quotes bateson : that he gives up any notion of man,
> redefining the self as an expanded mental
> field ...with the mind no longer bound by the invidual body..a
> conjunction of self and world produced through
> communication ecologies" which refers nicely back to the early posts
> on this YASMIN discussion
> ( even though bateson was talking 52 years ago !)
>
> and from marcel duchamp: "..the artist is part of a larger system in
> which his or her conscious intention forms
> a small part"...
>
> these discussions were of course all taking place in the same period
> as the macy cybernetics conferences
>
> a relevant comment is that art history, with its emphasis on
> individual creators/art market mechanisms= finds
> its difficult to give appropriate treatment to group and collective
> work= and as pointed out by frieder nake in
> a later issue of art journal= even in the case of E.A.T we tend to
> reemmber the names of individual artists
> (rauschenberg etc) and billy kluver of course, but the rest of the
> collective disappears in anonymity=- and
> even current artists whose work results from close and crucial
> collaboration with engineers often do not
> credit the engineers as co creators of the work.
>
> the problem with the concept of genius is that it is so tied to
> particular ways of writing art history
> that its perhaps hard to extend the concept to radical innovation
> arising from art-science or
> art-technology collaborations
>
> roger
>
>
> ---------- Forwarded message ----------
> From: Murat Germen<muratgermen@sabanciuniv.edu>
> Date: Sun, Aug 16, 2009 at 3:52 AM
> Subject: Re: [Yasmin_discussions] collective genius
> To: Kerry Tunstall<hvkerry@gmail.com>, YASMIN DISCUSSIONS
> <yasmin_discussions@estia.media.uoa.gr>
>
>
> let me add one more cent so that we can jump to odd and/or prime numbers:)
>
> collaboration and collectivity are not the same thing. the scale /
> number of people involved in a collaboration is usually less than what
> you would expect in a collective act. in addition, collaboration does
> not always involve a good deed;
>
> there is one notion called "imece" in the traditional turkish culture
> which generically means collective labor. below is a link that tries
> to define the notion in english:
> http://www.imece2009.anadolu.edu.tr/index.php?dil=en&icerik=index
>
> and a quotation from mehmet kucukozer's paper:
> "Another concept that promoted village solidarity was imece, or
> "community project," as Delaney defines it (152). Mainly women engaged
> in cooperatives but this depended on the project, which could take
> various forms: pooling money for cooperative construction of
> infrastructure; helping members of the village community who were in
> need (such as relatives from the city when they run out of money, or
> taking in their children during the summers); and organizing sporting
> and social events. [...] Imece indicates the emphasis placed in
> Turkish culture on maintaining the harmony of the social group,
> whether the family or its extension, the village. Jenny White's (2002)
> ethnographic work of a poor migrant district of Istanbul illustrates
> how [...] imece continued to be the basis of social networking in the
> city and provided a foundation for horizontal political organizing,
> mainly among women." (from "Civil Society: A Proposed Analytical
> Framework For Studying its Development Using Turkey as a Case Study"
> mehmet kucukozer paper, p.21, UNIVERSITA' DEGLI STUDI DI MESSINA
> Facoltà di Scienze Politiche Dipartimento di Economia, Statistica,
> Matematica e Sociologia "Pareto")
> reference for Delaney: Delaney, Carol. "Traditional Modes of Authority
> and Co-operation," pp. 140-155. In Culture and Economy: Changes in
> Turkish Villages (ed. Paul Stirling). Hemingford, UK: Eothen Press,
> 1993.
> reference for white: White, Jenny B. Islamist Mobilization in Turkey:
> A Study in Vernacular Politics.Seattle,Wash.: University of Washington
> Press, 2002.
>
> i
>
> best,
> murat
>
> <<< +90 532 473 8970 (gsm mobile)
> <<< http://www.muratgermen.com
> <<< http://www.flickr.com/photos/muratgermen/
> <<< http://muratgermen.wordpress.com/
> <<< http://www.camgaleri.com/en/sanatci.aspx?id=27
>
>
>
> On 14.08.2009 23:58, Kerry Tunstall wrote:
>
> _______________________________________________
> 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
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>
> 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
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Mode" option and set it to either on or off.
>
>
>
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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] collective genius

Back from a holiday in sizzling Dubai, I am sorry that I missed much of the discussion on collective genius.

My token contribution if of use now is below.

Collective genius seems part of the tensions between individualism and collectivism evident in the field of Art&Design; the searcher vs the re-searcher; talented anarchic individual vs trans-disciplinary team etc. This can mirror macro political stances too eg. re-search culture in a way mirrors communistic values, whereas the search culture of the anarchic individual artist can mirror a contrary position.

Gathering people together to create emergence of 'genius' is not as easy as it might seem. The notion that a individual neural network is likely to be lesser than a network of neural networks is problematic because the assumption is that the 'connections' are seemless. They are not. As in any circuit, connections give rise to noise, breaks, interference etc. In a collection of people differences in discipline terminology, attitudes etc. can reduce a trans-disciplinary team - a network of neural networks to merely a crowd, whereas the seemless connections within a single creative neural network are super efficent, and perhaps more likely to give rise to 'genius'.

This topic is touched upon in a paper led by Dave Everitt (ref below) which highlights the need for careful composition of creative collective effort.

Alec R (with factor 20 tan!)
www.4D-Dynamics.net

EVERITT, Dave., and ROBERTSON, Alec., 'Emergence and complexity,: Some observations and reflections on trans-disciplinary research involving performative contexts and new media' in International Journal of Performance Arts and Digital Media. Volume 3, Issue 2&3, pp.239-252, doi:10.1386/padm.3.2&3.281/1. Intellect Books. ISSN: 14794713

http://www.intellectbooks.co.uk/journals/view-Article,id=4964/

-----Original Message-----
From: yasmin_discussions-bounces@estia.media.uoa.gr on behalf of Murat Germen
Sent: Tue 18/08/2009 13:39
To: YASMIN DISCUSSIONS
Subject: Re: [Yasmin_discussions] collective genius

roger,

couple of more things that somehow should matter within the realms of
collectivity and collaboration:

- collectivity does not necessarily have a physical boundary (not a
community, neighborhood, territory, etc.), does not necessarily have a
book (biblical, regulatory, constitutional, agreements of any sort in
written form, etc.), should be highly dynamic ans does not necessarily
form a clique, clan, brotherhood, fraternity, guild, society, union,
nation, civilization. this is why i love internet collectivity; the
first reason you are involved in a collective is very basic: you have
internet connection. the rest depends on your interests and your ability
to turn this into physical communication whenever possible and/or needed.

- a collective could be the "array of arrays" that are composed dynamic
definitions / coincidences / overlaps / concurrences / intersections /
convergences / etc. it is, in a way, a center of equal peripheries with
no center:) i did not know the great quote from the great marcel
duchamp, thanks for bringing it up: "... the artist is part of a larger
system in which his or her conscious intention forms a small part ..."
this is sort of what i mean by "center of equal peripheries with no center."

best,
murat

<<< +90 532 473 8970 (gsm mobile)
<<< http://www.muratgermen.com
<<< http://www.flickr.com/photos/muratgermen/
<<< http://muratgermen.wordpress.com/
<<< http://www.camgaleri.com/en/sanatci.aspx?id=27

On 17.08.2009 06:09, roger malina wrote:
> Murat
>
> I found interesting your IMECE connection and checked out the
> interesting web site for the event in turkey this october
>
> http://www.imece2009.anadolu.edu.tr/index.php?dil=en&icerik=konu
>
> "" Furthermore, it foregrounds certain concepts naturally available in
> "imece" practice such as solidarity, collaboration, experience
> sharing, common production, interaction and common use of public
> places in terms of their contribution to development of creativity. ""
>
>
> I think you make a good point about scale differences between
> collaborations , which usually involve smaller
> number of people, and collectives which can provide shared resources
> and infrastructurer for much larger
> communities of practice
>
> i just came across several interesting articles in the fall 2008 issue
> of Art Journal
> vol 67 nos: http://www.collegeart.org/artjournal/fall2008
>
> From Space to Environment: The Origins of Kankyo and the Emergence of
> Intermedia Art in Japan / Yoshimoto, Midori
>
> The Public Sensoriums of Pulsa: Cybernetic Abstraction and the
> Biopolitics of Urban Survival / McKee, Yates 46-67
>
> Steps to an Ecology of Communication: Radical Software, Dan Graham,
> and the Legacy of Gregory Bateson / Kaizen, William
>
>
> The first , by Midori Yoshimoto, about the japanese
> collective/collaboration describes the 1966 exibition involving 38
> artists who worked
> together to mount two exhibitions under the name of the Environment Society
>
> Pulsa was an american collective that exibited "unrestricted public
> experiments to redefine the urban environment ' ib boston and other
> cities in the eastern usa and their work is described in the text by
> Yates Mckee
>
> the third text ,(authored by william kaisen),includes some interesting
> discussion of the interaction of the media activist magazine radical
> software( the article discussses people such as frank gilette, paul
> ryan beryl korot,dan graham) but of relevance to our yasmin discussion
> a panel at
> the 1957 american federation of arts meeting in houston which included
> a panel with rudolf arnheim, stuart davis, marcel duchamp and
> particularly relevant gregory bateson
>
> the article quotes bateson : that he gives up any notion of man,
> redefining the self as an expanded mental
> field ...with the mind no longer bound by the invidual body..a
> conjunction of self and world produced through
> communication ecologies" which refers nicely back to the early posts
> on this YASMIN discussion
> ( even though bateson was talking 52 years ago !)
>
> and from marcel duchamp: "..the artist is part of a larger system in
> which his or her conscious intention forms
> a small part"...
>
> these discussions were of course all taking place in the same period
> as the macy cybernetics conferences
>
> a relevant comment is that art history, with its emphasis on
> individual creators/art market mechanisms= finds
> its difficult to give appropriate treatment to group and collective
> work= and as pointed out by frieder nake in
> a later issue of art journal= even in the case of E.A.T we tend to
> reemmber the names of individual artists
> (rauschenberg etc) and billy kluver of course, but the rest of the
> collective disappears in anonymity=- and
> even current artists whose work results from close and crucial
> collaboration with engineers often do not
> credit the engineers as co creators of the work.
>
> the problem with the concept of genius is that it is so tied to
> particular ways of writing art history
> that its perhaps hard to extend the concept to radical innovation
> arising from art-science or
> art-technology collaborations
>
> roger
>
>
> ---------- Forwarded message ----------
> From: Murat Germen<muratgermen@sabanciuniv.edu>
> Date: Sun, Aug 16, 2009 at 3:52 AM
> Subject: Re: [Yasmin_discussions] collective genius
> To: Kerry Tunstall<hvkerry@gmail.com>, YASMIN DISCUSSIONS
> <yasmin_discussions@estia.media.uoa.gr>
>
>
> let me add one more cent so that we can jump to odd and/or prime numbers:)
>
> collaboration and collectivity are not the same thing. the scale /
> number of people involved in a collaboration is usually less than what
> you would expect in a collective act. in addition, collaboration does
> not always involve a good deed;
>
> there is one notion called "imece" in the traditional turkish culture
> which generically means collective labor. below is a link that tries
> to define the notion in english:
> http://www.imece2009.anadolu.edu.tr/index.php?dil=en&icerik=index
>
> and a quotation from mehmet kucukozer's paper:
> "Another concept that promoted village solidarity was imece, or
> "community project," as Delaney defines it (152). Mainly women engaged
> in cooperatives but this depended on the project, which could take
> various forms: pooling money for cooperative construction of
> infrastructure; helping members of the village community who were in
> need (such as relatives from the city when they run out of money, or
> taking in their children during the summers); and organizing sporting
> and social events. [...] Imece indicates the emphasis placed in
> Turkish culture on maintaining the harmony of the social group,
> whether the family or its extension, the village. Jenny White's (2002)
> ethnographic work of a poor migrant district of Istanbul illustrates
> how [...] imece continued to be the basis of social networking in the
> city and provided a foundation for horizontal political organizing,
> mainly among women." (from "Civil Society: A Proposed Analytical
> Framework For Studying its Development Using Turkey as a Case Study"
> mehmet kucukozer paper, p.21, UNIVERSITA' DEGLI STUDI DI MESSINA
> Facoltà di Scienze Politiche Dipartimento di Economia, Statistica,
> Matematica e Sociologia "Pareto")
> reference for Delaney: Delaney, Carol. "Traditional Modes of Authority
> and Co-operation," pp. 140-155. In Culture and Economy: Changes in
> Turkish Villages (ed. Paul Stirling). Hemingford, UK: Eothen Press,
> 1993.
> reference for white: White, Jenny B. Islamist Mobilization in Turkey:
> A Study in Vernacular Politics.Seattle,Wash.: University of Washington
> Press, 2002.
>
> i
>
> best,
> murat
>
> <<< +90 532 473 8970 (gsm mobile)
> <<< http://www.muratgermen.com
> <<< http://www.flickr.com/photos/muratgermen/
> <<< http://muratgermen.wordpress.com/
> <<< http://www.camgaleri.com/en/sanatci.aspx?id=27
>
>
>
> On 14.08.2009 23:58, Kerry Tunstall wrote:
>
> _______________________________________________
> 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.
>
>
>
_______________________________________________
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Yasmin URL: http://www.media.uoa.gr/yasmin

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HOW TO ENABLE / DISABLE DIGEST MODE: in the options page, find the "Set Digest Mode" option and set it to either on or off.

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Yasmin URL: http://www.media.uoa.gr/yasmin

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[Yasmin_announcements] Reminder: Barbara Nessim - CAS September Meeting

*REMINDER*

The BCS CAS SG is pleased to announce that our Autumn Programme
will launch with a presentation by the internationally-renowned
artist and illustrator Barbara Nessim. Barbara is visiting the UK
briefly and we are lucky to have this opportunity to hear her
speak and to see her work. This talk is free and members of the
public are welcome to attend.

Wednesday 2 September 2009
6:30 for 7:00pm
Birbeck College, Centre for Film and Visual Media
43 Gordon Square, London WC1H 0PD
Nearest tubes - Euston Square, Warren Street & Russell Square
Map: http://www.bbk.ac.uk/maps/interactive

Barbara Nessim

"My introduction to the computer began when Peter Spackman, the
then Director of the Council of the Arts at Massachusetts
Institute of Technology, invited me to present my work to the
students at The Visible Language Workshop, a new MIT graduate
program. In turn, the students would teach me how to use the
computer to create my work. I was both excited by the challenge
and skeptical as to how a computer could be used to create art.
This was 1980, before the Mac and the IBM PC. I already had 20
years experience as a fine artist and illustrator. This talk
takes us through the years before and after the introduction of
the computer, as an added artistic "super" tool. It covers the
early computers from 1981 to the present, as well as detailing
the many creative ways the art developed into hardcopy. I will
also discuss the ideas central to my fine art exhibitions as well
as reveal the anatomy and concept behind my published
illustrations."

Internationally-renowned artist, illustrator and educator Barbara
Nessim has been a visionary in the art world for decades.
Original in her creativity, she has an extensive resume of
accomplishments, and a portfolio of work that's been showcased in
prominent museums, galleries and private collections worldwide.
Educated at Pratt Institute in New York, Barbara was quickly
recognized for her distinctive style, and became one of the first
female freelance illustrators of her time. In 1980, she embraced
the use of the computer in her fine art and illustration, a topic
upon which she has frequently lectured. Barbara has also taught
at the School of Visual Arts, Pratt Institute and Parsons The New
School for Design, where she served as Chairperson of
Illustration. Today Barbara's focus is on several commissions for
buildings in New York City.

http://www.barbaranessim.com

CAS Autumn Programme:
Wed 02 Sep - Barbara Nessim
Wed 14 Oct - Roman Versotko - note second Wednesday
Wed 04 Nov - unconfimed
Wed 02 Dec - Iris Asaf

CAS - supporting the computer arts for over 40 years
The BCS CAS SG is a British Computer Society Specialist Group

http://www.computer-arts-society.org

====
Paul Brown - based in the UK July - Sept 2009
mailto:paul@paul-brown.com == http://www.paul-brown.com
UK Mobile +44 (0)794 104 8228 == USA fax +1 309 216 9900
Skype paul-g-brown
====
Visiting Professor - Sussex University
http://www.cogs.susx.ac.uk/ccnr/research/creativity.html
====

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[Yasmin_announcements] The Arts in the Context of Darwinian Theory Today in Marseille October 22-24 2009

Dear YASMINERS

The Arts in the Context of Darwinian Theory Today

This is to invite YASMINERS to attend the three day symposium
on this topic that will be held in Marseille October 22-24 2009.

http://www.labo-mim.org/eng/index.php?colloquedarwineng

It is being organised by the Musique Informatique de Marseille
in collaboration with IMERA, Leonardo/OLATS, Zinc and Aphabetville.

The firstday is being organised by IMERA at the Maison
Mediterraneen des Sciences de l'Homme in Aix en Provence
on October 22 2009.

There is limited room for audience, so if you would like a personal
invitation contact pascale.hurtado@club-internet.fr and mention that
you read this on YASMIN.

Here is the list of speakers for the IMERA day ( note most of the talks
will be in French)

*Le colloque de l'IMéRA « Art, culture, théorie de l'évolution » se déroule
dans le cadre du colloque international

*

*LES ARTS DANS LE CADRE ACTUEL
DE LA THEORIE DARWINIENNE DE L'EVOLUTION
*
Marseille et Aix-en-Provence, France, 22-24 octobre 2009

Colloque organisé par / organized by le MIM en partenariat avec / in
partnership with :
IMéRA, Leonardo/Olats, Alphabetville, ZINC-ECM

*Comité scientifique :
*Jacques MANDELBROJT, physicien-théoricien, plasticien, MIM ;
Roger MALINA, directeur de recherche CNRS (Laboratoire d'Astrophysique de
Marseille), rédacteur en chef de la revue Leonardo ;
Emmanuel GIRARD-REYDET, directeur exécutif de l'IMéRA ;
Marcel FORMOSA, compositeur, MIM ;
Marcel FREMIOT, compositeur, musicologue, MIM.

*Le colloque se déroule sur trois jours : **télécharger le préprogramme
indicatif
<http://www.imera.fr/images/stories/6darwin_programme_collectif.pdf>
**Jeudi 22 octobre, Journée IMéRA : « Art, culture, théorie de
l'évolution »*
*Organisée par l'IMéRA* (Institut Méditerranéen de Recherches Avancées)
*Lieu* : Maison Méditerranéenne des Sciences de
l'Homme<http://www.mmsh.univ-aix.fr/>,
Aix-en-Provence.
*Conditions d'accès* : sur invitation et inscription préalable.
Contact inscriptions : pascale.hurtado@club-internet.fr Cette adresse email
est protégée contre les robots des spammeurs, vous devez activer Javascript
pour la voir.

*Vendredi 23 octobre, Journée MIM « Les arts dans le cadre actuel de la
théorie darwinienne de l'évolution »
Organisée par **le MIM* <http://www.labo-mim.org/>(Laboratoire Musique et
Informatique de Marseille)
*Lieu* : Bibliothèque de l'Alcazar, Marseille.
*Conditions d'accès* : entrée libre.

*Samedi 24 octobre, Soirée de la Friche
Organisée par **Alphabetville* <http://www.alphabetville.org/>* et **
Zinc-ECM* <http://www.zinclafriche.org/>
*Lieu* : La Friche de la Belle de Mai, Marseille
*Conditions d'accès* : entrée libre.
------------------------------

*22 OCTOBRE : JOURNEE DE l'IMéRA
*
*Le colloque « Art, culture, théorie de l'évolution » de l'IMéRA est
organisé par Roger Malina et Samuel Bordreuil*, co-responsables du *pôle
Art/science/instrumentation/langage (ASIL) de
l'IMéRA*<http://www.imera.fr/index.php/fr/flux-rss/101.html>
.

*Date* : Jeudi 22 octobre 2009.

*Lieu* : Salle Paul-Albert Février, Maison Méditerranéenne des Sciences de
l'Homme, 5 rue du Château de l'horloge, 13090 Aix-en-Provence.

*Conditions d'accès* : sur invitation et inscription préalable.
Contact inscriptions : pascale.hurtado@club-internet.fr Cette adresse
email est protégée contre les robots des spammeurs, vous devez activer
Javascript pour la voir.
*

INTERVENANTS CONFIRMES
*
*Jean-Pierre CHANGEUX*, neurobiologiste, professeur honoraire au Collège de
France et à l'Institut Pasteur, membre de l'Académie des sciences.
*
Jacques ARNOULD*, docteur en histoire des sciences et docteur en théologie,
chargé de mission au Centre national d'études spatiales sur la dimension
éthique, sociale et culturelle des activités spatiales.
*
Louis BEC*, zoosystémicien, président de l'Institut Scientifique de
Recherche Paranaturaliste, commissaire d'expositions.
*
Samuel BORDREUIL*, chercheur en sociologie, directeur du Laboratoire
méditerranéen de sociologie (MMSH).
*
Annick BUREAUD*, critique d'art et chercheure dans le domaine de l'art lié
aux techno-sciences, commissaire d'expositions, directrice de
Leonardo/Olats.
*
Chu-Yin CHEN*, maître de conférences au département « Art et technologies de
l'image » de l'université Paris 8, artiste qui s'inscrit dans un courant à
la croisée de la création artistique numérique, de la biologie et de la vie
artificielle.
*
Jean GAGNEPAIN*, préhistorien, directeur du Musée de Préhistoire des Gorges
du Verdon à Quinson.
Titre de l'intervention : *« Peut-on parler d'évolution darwinienne pour
l'art et les cultures humaines ? »
**
Ramon GUARDANS*, biologiste, actuellement conseiller auprès du Ministère de
l'Environnement, Affaires rurales et maritimes à Madrid, sur
l'implémentation et l'évaluation réelle de la Convention de Stockholm des
Nations-Unies sur les Polluants Organiques Persistants.
*Titre de l'intervention* : *"Plant physics : on the silent power of
waiting"

*

*Dominique LESTEL*, philosophe et éthologue, enseignant-chercheur à l'ENS,
membre du Centre d'études des systèmes complexes et de la cognition.
Titre de l'intervention : *« Art et esthétique peuvent-ils s'animaliser ou
constituent-ils des formes d'intoxication spécifique ? »

**Isabelle MASSU*, artiste, enseignante au San Francisco Art Institute ; en
collaboration avec *Dore BOWEN*, commissaire d'exposition et historienne
d'art à l'université de San José State, Californie.

*Jacques MORIZOT*, professeur des universités, directeur du département de
philosophie de l'université de Provence, responsable de la spécialité
"esthétique et théorie des arts".

*Jean VION-DURY*, neurophysiologiste, membre de l'Institut de Neurosciences
Cognitives de la Méditerranée (INCM).
Titre de l'intervention : *« Problèmes épistémologiques soulevés par la
neuroesthétique et son lien avec la théorie de l'évolution ».*
_______________________________________________
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Yasmin_announcements@estia.media.uoa.gr
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Re: [Yasmin_announcements] Correction: Huge VM show & symposium opens Aug 28, Linz

Dear YASMIN,
 
Regarding some of your inquiries, see details below:
 
Best,
Veroniki

--- Στις Κυρ., 23/08/09, ο/η C Keefer <keefco1@gmail.com> έγραψε:

This message was posted by Center for Visual Music on a number of lists, originally the post was sent to CVM by Sandra Naumann.  This show has nothing at all to do with iota; that is just one of the lists it was posted to. Center for Visual Music is involved with this show and has contributed films, research, images, consultation, etc. to this exhibition, plus lectures/guest speakers in October.
 
Thanks for clarifying this to your list. 
 
C. Keefer
Center for Visual Music
www.centerforvisualmusic.org
cvmaccess (at) gmail.com

 

Begin forwarded message:

From: Veroniki Korakidou <vkorakidou@yahoo.gr>
Date: August 21, 2009 1:10:16 PM MDT
To: YASMIN Announcements <yasmin_announcements@estia.media.uoa.gr>
Subject: [Yasmin_announcements] Fw: [iota] Huge VM show & symposium opens Aug 28, Linz
Reply-To: YASMIN ANNOUNCEMENTS <yasmin_announcements@estia.media.uoa.gr>

For any YASNINer who is interested!
 
Best
Veroniki

--- Στις Παρ., 21/08/09, ο/η C Keefer έγραψε:

Από: C Keefer
Θέμα: Huge VM show & symposium opens Aug 28, Linz
Ημερομηνία: Παρασκευή, 21 Αύγουστος 2009, 18:31

 

SEE THIS SOUND: Huge exhibition & symposium opening next week in Linz, Austria (the museum exhibition runs through January 2010). See end of email for full list of artists in the exhibition. There are related events throughout the length of the exhibition including lectures, screenings, performances - weblog of events through December is at http://blog. see-this- sound.at/ veranstaltungen- und-termine/ (so far only in German)

(Forwarded, from Sandra Naumann)

here some information on a project in Austria (with some contributions of the CVM and Cindy Keefer).
Would be great to see you there!

Best,
Sandra

SEE THIS SOUND
EXHIBITION / WEB ARCHIVE / SYMPOSIUM

The project SEE THIS SOUND explores the past and present of the link between image and sound in art, media and perception. The starting point is the fact that our world of experience today is marked by an omnipresence of audiovisual products and structures, in which the cultural production of image and sound is closely intertwined artistically, and in terms of media technology and market strategy. SEE THIS SOUND reacts to this by presenting and discussing different realizations of contemporary art and art studies. The current fields of reference range here from pop culture to the theory of perception and media technology.

1.) SEE THIS SOUND: SYMPOSIUM
Sound-Image Relations in Art, Media and Perception
2-3 September 2009
Ludwig Boltzmann Institute Media.Art.Research.

The goal of the international symposium is an interdisciplinary exchange among the theoretical and aesthetic thematic fields of the project. At the intersection of different academic disciplines the conference touches, among others, on art and music studies, media and art theory, media archeology, and the history of media technology. Artistic presentations are integrated in the course of the conference to stimulate the dialogue between art and science.

PROGRAM

Wednesday, 2 September, 2009, 7:30 pm

7:30 pm Starting Performance
Branden W. Joseph in conversation with Tony Conrad
followed by a performance by Tony Conrad

Thursday, 3 September, 2009, 10 am - 7:30 pm

10:00 – 10:30 Introduction

Dieter Daniels, Leiter Ludwig Boltzmann Institute Media.Art.Research, Linz
Sandra Naumann, Academic Staff Ludwig Boltzmann Institute Media.Art.Research, Linz

10:30 am – 12:30 pm Panel 1
Media Art – Visual Art: Divergence or Dialogue?

Christian Höller, author, curator, editor and co-publisher springerin, Vienna
„Deaf Dumb Mute Blind. Zum künstlerischen Umgang mit (popkulturellen) Bild-Ton-Beziehunge n" (Deaf Dumb Mute Blind. On artistic ways of dealing with [pop cultural] Image -Sound Relations)

Chris Salter, Assistant Professor of Digital Media Concordia University, Montreal
"Saturation versus Silence: Audio-Visual Perception in the Visual and Media Arts"

David Rokeby, Artist, Toronto
"Life in the Feedback Loop"

2:00 pm – 4:00 pm Panel 2
Art, Science and Technology: Instruments or Artworks?

Birgit Schneider, Dilthey Scholarship of the Fritz Thyssen Foundation, University of Potsdam, Institute of Arts and Media
"Von hörenden Augen und sehenden Ohren. Elemente einer Geschichte der Medienästhetik unterschiedlicher Verhältnisse von Ton und Bild" (Of hearing eyes and seeing ears. Elements of a history of the media aesthetics of different relations of sound and image)

Yvonne Spielmann, Chair of New Media, University of the West of Scotland, School of Creative Industries, Glasgow
"Early Video Tools - Some Reflections on Co-Creativity"

Golan Levin, Artist / Associate Professor of Electronic Art and Director of the STUDIO for Creative Inquiry at Carnegie Mellon University, Pittsburgh
"On the creation, experience and research of audiovisual interactive art"
a conversation with
Katja Kwastek, Vice-Director Ludwig Boltzmann Institute Media.Art.Research. , Linz,

5:00 pm – 7:00 pm Panel 3:
Art and Music: Intermediality – Intermodality – Interdisciplinarity ?

Branden W. Joseph, Frank Gallipoli Professor of Modern and Contemporary Art, Columbia University, New York, Department of Art History and Archaeology
"Biomusic and the End of Representation"

Helga de la Motte-Haber, Technical University Berlin, Institute of Language and Communication, Department Musicology
"Augenmusik – Hörbilder. Laudatio für den Preisträger des Media.Art.Research Award" (Eye Music - Audio Images. Laudatio for the prize-winner of the Media.Art.Research Award)

Winner Media.Art.Research. Award 2009 for "Eye hEar: Music, Art, Film & the Culture of Synesthesia":
Simon Shaw-Miller, Senior Lecturer and Head of School, School of History of Art, Film & Visual Media
Birkbeck College, University of London
"Syncretism: Art and Music in the Modern Period"

7.00 pm Closing Performance

Mikomikona (Birgit Schneider & Andreas Eberlein, Berlin)
„Fouriertransformati on I + II" (Fourier Transformation I + II)
Sound-Vision performance with two overhead projectors

The project SEE THIS SOUND explores the past and present of the link between image and sound in art, media and perception. The starting point is the fact that our world of experience today is marked by an omnipresence of audiovisual products and structures, in which the cultural production of image and sound is closely intertwined artistically, and in terms of media technology and market strategy. SEE THIS SOUND reacts to this by presenting and discussing different realizations of contemporary art and art studies. The current fields of reference range here from pop culture to the theory of perception and media technology.

The goal of the international symposium is an interdisciplinary exchange among the theoretical and aesthetic thematic fields of the project. At the intersection of different academic disciplines the conference touches, among others, on art and music studies, media and art theory, media archeology, and the history of media technology. Artistic presentations are integrated in the course of the conference to stimulate the dialogue between art and science.

Overall Director of the Conference: Dieter Daniels and Sandra Naumann
An event in conjunction with SEE THIS SOUND
A cooperation between the Ludwig Boltzmann Institute Media.Art.Research. and the Lentos Art Museum Linz with Linz 2009 European Capital of Culture

Organizer:
Ludwig Boltzmann Institute Media.Art.Research.
Kollegiumgasse 2
4010 Linz
http://media. lbg.ac.at/

Location:
Lentos Art Museum Linz
Ernst-Koref- Promenade 1

4020 Linz
http://www.lentos. at

2.) SEE THIS SOUND: EXHIBITION
Promises in Sound and Vision
28 August 2009 – 10 January 2010

There are sounds and noises all over the museum, as artists today take an engagement with the sound of this world for granted. The former predominance of the visual has meanwhile been replaced by a multifaceted interplay of image and sound. See this Sound documents this development from the perspective of visual art and refers to the respective contemporary discussions and promises.
In eight sections the exhibition focuses on important milestones and historical-social points of reference, but without imposing a linear development. Starting from the filmic sound visualizations of the 1920s – so-called Eye Music – it traces the topos of traversing genre boundaries in the 1960s and questions psychedelic trance machines and multimedia sound environments about their social-political potential. The illusion of a "natural" interplay of image and sound, for instance in Hollywood movies, is countered by works that disclose the discrepancies of this purported synthesis, all the way to the loss of sound and the power of speech. In addition, there is a special focus on the local production conditions of sounds (industrial cities and industrial sounds), and on sound as a medium of institutional critique.
Collaboration with the Ludwig Boltzmann Institute Media.Art.Research has also enabled the scholarly treatment of specific media history issues presented within the framework of a web archive and in the exhibition.

Artistic and Scientific Lead: Stella Rollig und Dieter Daniels
Curator: Cosima Rainer
Assistant Curator: Manuela Ammer
Project Coordination: Veronika Floch
Scientific Collaboration: Sandra Naumann

3.) SEE THIS SOUND: WEB ARCHIVE
online from 28 August 2009

The interdisciplinary and trans-genre character of the project is especially conveyed within the framework of an online platform on the subject of sound-image relations (bilingual German-English) .
This interdisciplinary field of knowledge has previously only been explored from the perspective of separate disciplines. For this reason, the audiovisual handbook pursues the goal of establishing a trans-disciplinary knowledge base of image-sound relations with contributions from experts. Specialists from art history, musicology, film theory, media studies, theater studies, pop theory, cognition psychology and neurology contribute their respective perspectives to an "audiovisuology" as an area of intersection between these academic fields. Text contributions from research work in the Institute are conjoined here with essays from external authors.

On the basis of thematic focal points, a multitude of artist and theoretical standpoints are linked with one another and related to historical and scientific information. The entire spectrum of audiovisual arts and phenomena is presented with historical longitudinal sections and systematic cross-sections in 35 lexicon entries. Longer essays provide a more in-depth discussion of interdisciplinary themes. Examples of work are documented audiovisually and commented on and contextualized academically. Audiovisuality is thus at once the theme and the method of the online platform.
The lexicon entries and audiovisual work examples that are coordinated and linked with one another through key words and time sections thus result in an overall view opening up new conjunctions of meaning. This procedure also enables overlapping and interlinking the artistic and academic elements of the project and developing new directions in the multimedia communication and representation of science and art.
The academic texts from the online platform will also be published as a book.

Editors: Sandra Naumann & Dieter Daniels

Sandra Naumann
- Researcher -
Ludwig Boltzmann Gesellschaft GmbH
LBI Medien.Kunst. Forschung.
Kollegiumgasse 2
A-4010 Linz
phone: +43.732.7898. 486
http://media. lbg.ac.at

(end email)

List of artists in the exhibition:

Laurie Anderson / Martin Arnold / Michael Asher / Atelier Hopfmann (Judith Hopf und Deborah Schamoni) / John Baldessari / Gottfried Bechtold / Jordan Belson / Manon de Boer / George Brecht / Mary Ellen Bute / John Cage / Lucinda Childs / Ira Cohen / Tony Conrad / Josef Dabernig / E.A.T. – Experiments in Art and Technology / Einstürzende Neubauten / Viking Eggeling / VALIE EXPORT / Oskar Fischinger / Morgan Fisher / Andrea Fraser / William Furlong / Kerstin von Gabain / Jack Goldstein / Douglas Gordon / Dan Graham / Rodney Graham / Granular Synthesis / Brion Gysin / Carl Michael von Hausswolff / Gary Hill / Ludwig Hirschfeld-Mack / Heidrun Holzfeind / Derek Jarman / Jutta Koether / DIE KRUPPS / Peter Kubelka / Louise Lawler / Bernhard Leitner / LIA / Alvin Lucier / Len Lye / George Maciunas / Christian Marclay / Norman McLaren / Jonas Mekas / Michaela Melián / Robert Morris / Christian Philipp Müller / Wolfgang Müller / Max Neuhaus / Carsten Nicolai
/ Pauline Oliveros / Yoko Ono / Dennis Oppenheim / Nam June Paik / Nam June Paik & Jud Yalkut / Norbert Pfaffenbichler & Lotte Schreiber / Rudolf Pfenninger / Adrian Piper / Mathias Poledna / Hans Richter / Józef Robakowski / David Rokeby / Constanze Ruhm und Ekkehard Ehlers / Walter Ruttmann / Peter Saville / Paul Sharits / Michael Snow / Imogen Stidworthy / Matt Stokes / Nina Stuhldreher / Atsuko Tanaka / TeZ / Throbbing Gristle / Tmema (Golan Levin und Zachary Lieberman) / Ultra-red / Steina Vasulka / Ryszard Waśko / Peter Weibel / Hans Weigand / Herwig Weiser / James Whitney / La Monte Young / La Monte Young & Marian Zazeela

(end post)
Cindy Keefer
Center for Visual Music
www.centerforvisual music.org

 

 

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[Yasmin_announcements] @rt Outsiders: Opening September 8th

Dear Yasminers,

The @rt Outsiders Festival programme is now online, the
opening is on September 8th and we plan a discussion around
the topic of the exhibition on Yasmin late September.

You'll find below the press release in English and then in
French.

Best
Annick

*******
ENGLISH
Festival @rt Outsiders 2009
www.art-outsiders.com

(Un)Inhabitable?
Art of Extreme Environments

September 9 > October 11 2009
Wenesday – Sunday / 11 am-8 pm

OPENING SEPTEMBER 8th 2009 – 4pm – 8 pm

Maison Européenne de la Photographie.
5-7, Rue de Fourcy, 75004 Paris.
Metro: Saint Paul or Pont Marie

The 2009 edition of the @rt Outsiders Festival —celebrating
this year its tenth anniversary—focuses on extreme environments.

These are environments that were, until recently,
uninhabited by human beings and that contemporary science
and technology turn into "inhabitable" places (Antarctica,
underwater world, outer space, deserts); but also those that
are becoming "uninhabitable" due to the impacts of our way
of life (pollution, technological accidents, economical
pressures and global warming).

"(Un)Inhabitable? – Art of Extreme Environments" presents
works that explore the meaning of living in extreme
environments, in the imaginary realm as well as in the
physical one, in the political, social and environmental
fields as well as in the poetic ones.

Artists and works:

- Howard Boland & Laura Cinti (UK), The Martian Rose, 2007,
mixed media installation, new edition for @rt Outsiders 2009

- Anne Brodie (UK), Antarctica, a Choice? Rothera
Collection, 2007, mixed media installation

- Peter Cusack (UK), Sounds from Dangerous Places,
Chernobyl, 2006-2009, sound and visual installation, new
version for @rt Outsiders 2009

- Stephen Eastaugh (Australia), Antarctic Sculpture Garden,
2003, photographies

- Shiro Matsui (Japan), EP04 Dewey's Forest, 2009, mixed
media installation mixed media, new version for @rt
Outsiders 2009

- Connie Mendoza (Chile/Spain/Germany), Numerical Desert,
2008, photographies, production and first exhibition @rt
Outsiders 2009

- Hu Jie Ming (China), Altitude Zero, 2003, interactive
installation

- Forrest Myers (USA), Moon Museum, 1969, ceramic tile,
drawings by Forrest Myers, John Chamberlain, David Novros,
Claes Oldenburg, Robert Rauschenberg, Andy Warhol

- Lucy + Jorge Orta (France/UK/Argentina), Antarctic
Village-No Borders ; Antarctic Village-No Borders Drop
Parachute ; Antarctica World Passport Delivery Bureau ;
Antarctica World Passport Citizenship Database, 2007-2009,
video, installation, performance, online work

- Bradley Pitts (USA), Singular Oscillations, 2008-2009,
photography

- Andrea Polli (USA), Sonic Antarctica, 2007-2008, sound and
video installation, new version for @rt Outsiders 2009

- Catherine Rannou (France), Colonisation 2041 et Balises
numériques 32Ko (Digital Beacon 32Ko), 2009, mixed media
installation and online work, creations @rt Outsiders 2009

- Ana Rewakowicz (Canada/Poland), SleepingBagDress Prototype
II, 2004-2005, mixed media installation and video

- Yang Yi (China), Uprooted, 2008, photographies

Catalog : bilingual French/English, introductory text by
Louis Bec

Performance Lucy + Jorge Orta: Wednesday, September 9th,
from 5 pm

Conference : Wednesday September 16th, MEP auditorium 6pm – 8pm
Les enjeux géopolitiques des ressources énergétiques de la
zone arctique
(in French)

Curators :
Jean-Luc Soret, artistic director of the @rt Outsiders Festival.
Annick Bureaud, theoretician and art critic, director of
Leonardo/Olats.

Press :
Yannick Le Guillanton
Tel : ++ 33/1 44 78 75 20
E-Mail : le.guillanton [@] art-outsiders.com

**********
FRANCAIS

Festival @rt Outsiders 2009
www.art-outsiders.com

(In)Habitable ?
L'art des environnements extrêmes

9 septembre > 11 octobre 2009
du mercredi au dimanche de 11 heures à 20 heures

VERNISSAGE LE 8 SEPTEMBRE 2009 – 16h00 – 20h00

Maison Européenne de la Photographie.
5-7, Rue de Fourcy, 75004 Paris.
Métro: Saint Paul ou Pont Marie

L'édition 2009 du Festival @rt Outsiders —qui célèbre cette
année son dixième anniversaire— a choisi de s'intéresser aux
environnements extrêmes.

Ces environnements sont ceux, jusqu'à présent "inhabités"
par les êtres humains, et que la technologie et la science
contemporaines nous rendent "habitables" (Antarctique,
environnement subaquatique, espace extra-terrestre,
déserts), mais aussi ceux qui deviennent "inhabitables" par
nos actions et modes de vie (pollution, accidents
technologiques, impératifs économiques et réchauffement
climatique).

"(In)Habitable ? L'art des environnements extrêmes",
présente un ensemble d'œuvres qui explorent dans
l'imaginaire comme dans la réalité, dans le champ du
politique, du social, de l'écologie et dans celui du
poétique ce que signifie "habiter l'extrême" mais aussi
comment "l'extrême", aujourd'hui, nous habite.

Artistes & œuvres :

- Howard Boland & Laura Cinti (Royaume Uni), The Martian
Rose, 2007, installation mixed media, nouvelle édition pour
@rt Outsiders 2009

- Anne Brodie (Royaume Uni), Antarctica, a Choice? Rothera
Collection, 2007, installation mixed media

- Peter Cusack (Royaume Uni), Sounds from Dangerous Places,
Chernobyl, 2006-2009, installation sonore et visuelle,
version originale pour @rt Outsiders 2009

- Stephen Eastaugh (Australie), Antarctic Sculpture Garden,
2003, photographies

- Shiro Matsui (Japon), EP04 Dewey's Forest, 2009,
installation mixed media, version originale pour @rt
Outsiders 2009

- Connie Mendoza (Chili/Espagne/Allemagne), Numerical
Desert, 2008, photographies, production et première
exposition @rt Outsiders 2009

- Hu Jie Ming (Chine), Altitude Zero, 2003, installation
interactive

- Forrest Myers (Etats-Unis), Moon Museum, 1969, tuile de
céramique, dessins de Forrest Myers, John Chamberlain, David
Novros, Claes Oldenburg, Robert Rauschenberg, Andy Warhol

- Lucy + Jorge Orta (France/Royaume Uni/Argentine),
Antarctic Village-No Borders ; Antarctic Village-No Borders
Drop Parachute ; Antarctica World Passport Delivery Bureau ;
Antarctica World Passport Citizenship Database, 2007-2009,
vidéo, installation, performance, œuvre en ligne

- Bradley Pitts (Etats-Unis), Singular Oscillations,
2008-2009, photographie

- Andrea Polli (Etats-Unis), Sonic Antarctica, 2007-2008,
installation sonore et vidéo, version originale pour @rt
Outsiders 2009

- Catherine Rannou (France), Colonisation 2041 et Balises
numériques 32Ko, 2009, installation mixed media et œuvre en
ligne, créations @rt Outsiders 2009

- Ana Rewakowicz (Canada/Pologne), SleepingBagDress
Prototype II, 2004-2005, installation mixed media et vidéo

- Yang Yi (Chine), Uprooted, 2008, photographies

Catalogue : bilingue français/anglais, texte introductif de
Louis Bec

Performance Lucy + Jorge Orta : mercredi 9 septembre 2009, à
partir de 17h00

Conférence : mercredi 16 septembre, auditorium de la MEP,
18h – 20h
Les enjeux géopolitiques des ressources énergétiques de la
zone arctique

Commissariat :
Jean-Luc Soret, directeur artistique du Festival @rt Outsiders.
Annick Bureaud, théoricienne et critique d'art, directrice
de Leonardo/Olats.

Relations presse :
Yannick Le Guillanton
Tel : 01 44 78 75 20
email : le.guillanton [@] art-outsiders.com

--

------------------------
Annick Bureaud (abureaud@gmail.com)
tel/fax : 33/(0)1 43 20 92 23
mobile/cell : 33/(0)6 86 77 65 76
Leonardo/Olats : http://www.olats.org
-------------------------

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