[Yasmin_announcements] Fw: [iota] Huge VM show & symposium opens Aug 28, Linz

For any YASNINer who is interested!
 
Best
Veroniki

--- Στις Παρ., 21/08/09, ο/η C Keefer <keefco@earthlink.net> έγραψε:

Από: C Keefer <keefco@earthlink.net>
Θέμα: [iota] Huge VM show & symposium opens Aug 28, Linz
Προς: iotacenter@yahoogroups.com
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_discussions] Fw: [DASH] Booking now open - CHArt 2009 Conference: Object and Identity in a Digital Age, 12-13 November 2009.

Dear YASMIN,
 
Following the discussion on collaborative art practice I find this event very relevant on the topic of art object and identity in the digital era...:-))
 
Best
Veroniki

--- Στις Παρ., 21/08/09, ο/η Gardiner, Hazel <hazel.gardiner@KCL.AC.UK> έγραψε:

Από: Gardiner, Hazel <hazel.gardiner@KCL.AC.UK>
Θέμα: [DASH] Booking now open - CHArt 2009 Conference: Object and Identity in a Digital Age, 12-13 November 2009.
Προς: DASH@JISCMAIL.AC.UK
Ημερομηνία: Παρασκευή, 21 Αύγουστος 2009, 8:24

CHArt TWENTY-FIFTH ANNUAL CONFERENCE
 
OBJECT AND IDENTITY IN A DIGITAL AGE
 
Thursday 12 - Friday 13 November 2009
 
Birkbeck, University of London, Clore Lecture Theatre, Clore Management Centre, Torrington Square, London, WC1 7HX.
 
THEME
 
This year's CHArt conference engages with the idea of object and identity in relation to art practice, production, consumption, representation and display. The conference will explore new notions of the identity of the artist, including those involving collaboration and anonymity; new conceptions and ontologies of the art object, as processual, virtual, or hybrid; new means of consumption and reception, whether in galleries and museums, in public spaces, or over networks of broadcast and narrowcast; and the challenges these transformations bring to the display of art and to its curation and access.
 
Places are limited so early booking is recommended.
 
The booking form is available online on www.chart.ac.uk.  Bookings made before 1 October 2009 will be entitled to a discount.  Conference fees (pounds sterling) - include coffee/tea breaks and lunch. 
                                     
 
PROGRAMME
 
 
 
THURSDAY 6 NOVEMBER
 
KEYNOTE – Frieder Nake, University of Bremen, Germany.
Only Artist. Only Engineer. Only Critic. Transcending Disciplines in Early Digital Art.
 
 
SESSION 1
 
Patterns of Movement in Live Languages.
Alex McLean, Geraint Wiggins, Goldsmiths, University of London.
 
The Software in Art.
Ernest Edmonds, University of Technology Sydney.
 
Interfaces of Performance.
Maria Chatzichristodoulou (Maria X), University of Hull; Janis Jefferies, Goldsmiths, University of London; Rachel Zerihan, Queen Mary University of London.
 
The Screaming Head: Making the Most of the Random Attributes of Sensors in the Construction of a Virtual Performer.
Mary Oliver, University of Salford.
 
 
SESSION 2
 
Making Connections: Children, Objects, Meanings and Museums.
Helena Tomlin and Irit Narkiss, The Manchester Museum.
 
Art and Orphan Works:  Ownership and Discovery.
Annette Ward, Scottish Power; Annsley Merelle Ward, Gallant Macmillan LLP; James Stevenson, Victoria and Albert Museum; Stephen McKenna, Ian Ricketts, University of Dundee.
 
 
Emergent questions: Digitisation, Cultural Heritage and the Social Agency of Images.
Devorah Romanek, The British Museum.
 
Cut and Paste Art History: Image Manipulation as Spurious Art Historical Proof of the Face of Shakespeare.
Marcus Risdell, Garrick Club.
 
 
SESSION 3
 
Re-Materialisation of the Art Object.
Dew Harrison, University of Wolverhampton.
 
Puppeteers, Performers or Avatars: A Perceptual Difference in Telematic Space.
Paul Sermon, University of Salford.
 
The Work of Art in the Age of Virtual Production.
Andrew Sempere, IBM Watson Research.
 
The Creative Use of Online Social Networking Sites to Increase Public Engagement and Participation in the Professional Arts Through Collaborative Involvement in Creative Practice.
Sophy Smith, De Montfort University, Leicester.
 
 
(The CHArt Annual General Meeting will take place at the end of day 1)
 
 
FRIDAY 13 NOVEMBER
 
 
SESSION 4
 
The Role of Art in Computer Game Design.
Colin B. Price, June S. Moore, University of Worcester.
 
The Artist as Designer, the Artist as User: Developing a Collaborative Framework for Artistic Engagement in ICT Design.
Frederik Lesage, London School of Economics and Political Science.
 
Big Bird is Watching You! Art, Activism and Technology in the Public Arena.
Denitsa Petrova, Edinburgh College of Art.
 
Are You Clean? Parasitic Art and Privacy.
Jeremy Pilcher, Lancaster University.
 
 
SESSION 5
 
Software Maintenance.
Wayne Clements, Chelsea College of Art and Design.
 
Databasing the Arts:The Enactment of Art Objects in Networked Infrastructures.
Sarah de Rijcke, Royal Netherlands Academy of Arts and Sciences.
 
ArtLog: An Electronic Archive of Artistic Process
Yvonne Desmond, Dublin Institute of Technology, Ireland.
 
Try to Get that Kindle Signed: The Comic Book as Cultural Interface
Ernesto Priego, University College London.
 
 
SESSION 6
 
The Case of Liberation Aesthetics Versus Digital Identit(ies).
Timothy Allen Jackson, Savannah College of Art and Design, USA.
 
Performing Information.
Christoph Klütsch, Savannah College of Art and Design, USA.
 
Putting Lipstick on the Golem?
John Lifton, Lifton Zoline International LLC and Institut Slavonice.
 
Curation as High-Level Programming.
Gabriel Menotti, Goldsmiths, University of London.
 
 
BOOKING FEE
 
CHArt Member: TWO DAYS £120 (£100 before 1 Oct 2009)
CHArt Member: ONE DAY £80 (£70 before 1 Oct 2009)
Non-member: TWO DAYS £160 (£140 before 1 Oct 2009)
Non-member: ONE DAY £110 (£100 before 1 Oct 2009)
CHArt Student Member: TWO DAYS £65 £45 before 1 Oct 2009)
CHArt Student Member: ONE DAY £45(£35 before 1 Oct 2009)
Student Non-member: TWO DAYS £85 (£65 before 1 Oct 2009)
Student Non-member: ONE DAY £55 (£45 before 1 Oct 2009)
 
...........................................
Hazel Gardiner
Centre for Computing in the Humanities
King's College London
26-29 Drury Lane
London
WC2 5RL
 
hazel.gardiner@kcl.ac.uk
 
+44 020 7848 2013
 
 

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[Yasmin_announcements] UK Art Employment Opportunity

Yasmin readers may be interested in this curatorial position at the Barbican
Art Gallery, London.

Deadline: 7 September 2009
London, UK - Barbican Art Gallery
Call for Application: Curator
http://www.barbican.org.uk/careers <http://www.barbican.org.uk/careers>
An exciting opportunity has arisen for a creative and dynamic curator to
join Barbican Art Gallery, a leading London venue for the presentation of
modern and contemporary art, photography, architecture and design
exhibitions. Part of the Barbican Centre, Europe's largest arts venue, the
Gallery's activities take place in the context of a widely acclaimed
programme of international music, dance, theatre, visual arts and cinema.
As curator, you will work with the Head of Art Galleries and Senior Curator
to deliver our world-class exhibition programme. You will contribute
imaginative and innovative ideas to the Gallery's programming discussions;
you will have a flair for devising authoritative exhibitions which also
appeal to wide audiences; and you will work to build the Gallery's
relationships with artists and institutions in Britain and abroad.
We are looking for a curator with a thorough knowledge of 20th and 21st
century art and/or design and architecture. You will have substantial
experience curating and organising major loan-based exhibitions, in
commissioning and editing publications, and in leading teams to deliver
complex projects. Outstanding interpersonal and communication skills are
essential.
For details and to apply, visit <http://www.barbican.org.uk/careers>
Interviews to be held week commencing 21 September 2009
Barbican Centre is owned, funded and managed by the City of London.
Barbican Centre is committed to Equal Opportunities and welcomes
applications from all sections of the community.

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Re: [Yasmin_announcements] electrical engineering and digital arts

Hi Christo;

Our program in New Mexico offers degrees for ECE/CS students as well as fine arts
http://finearts.unm.edu/ifdm.htm

Yours;

Andrea
--
Andrea Polli
Director, Interdisciplinary Film and Digital Media (IFDM)
and Mesa Del Sol Chair of Digital Media
IFDM c/o College of Fine Arts
UNM Center for the Arts, Bldg 62 MSC04-2570
ABQ, NM 87131
505-277-0546
apolli@unm.edu
skype: andreapolli
http://www.andreapolli.com

-----Original message-----
From: "Pierre Proske" pierre@digitalstar.net
Date: Wed, 19 Aug 2009 18:04:05 -0400
To: "YASMIN ANNOUNCEMENTS" yasmin_announcements@estia.media.uoa.gr
Subject: Re: [Yasmin_announcements] electrical engineering and digital arts

> Hi,
>
> I don't know much about it, but from descriptions this program might be
> similar:
> http://www.ace.uci.edu/
>
> perhaps this too:
> http://www.cmu.edu/interdisciplinary/programs/index.html
>
> > Christo Doherty (Witwatersrand) wroteon July 27, 2009 at 11:26pm
> > Hi All,
> >
> > At the University of the Witwatersrand in Johannesburg, South Africa,
> > we are working on the development of a collaborative degree between
> > Electrical Engineering and Digital Arts. This will be an undergraduate
> > degree, a B of Engineering Science in the field of Digital/Computer
> > Arts. Can anyone refer us to existing programmes of this type anywhere
> > else in the world? Any links will be greatly appreciated!
> > - Christo Doherty
> > "Christo Doherty" <dohertyc@gmail.com>,
> > _______________________________________________
> > Yasmin_announcements mailing list
> > Yasmin_announcements@estia.media.uoa.gr
> > http://estia.media.uoa.gr/mailman/listinfo/yasmin_announcements
> >
> > 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_announcements mailing list
> Yasmin_announcements@estia.media.uoa.gr
> http://estia.media.uoa.gr/mailman/listinfo/yasmin_announcements
>
> 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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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_announcements] electrical engineering and digital arts

Hi,

I don't know much about it, but from descriptions this program might be
similar:
http://www.ace.uci.edu/

perhaps this too:
http://www.cmu.edu/interdisciplinary/programs/index.html

> Christo Doherty (Witwatersrand) wroteon July 27, 2009 at 11:26pm
> Hi All,
>
> At the University of the Witwatersrand in Johannesburg, South Africa,
> we are working on the development of a collaborative degree between
> Electrical Engineering and Digital Arts. This will be an undergraduate
> degree, a B of Engineering Science in the field of Digital/Computer
> Arts. Can anyone refer us to existing programmes of this type anywhere
> else in the world? Any links will be greatly appreciated!
> - Christo Doherty
> "Christo Doherty" <dohertyc@gmail.com>,
> _______________________________________________
> Yasmin_announcements mailing list
> Yasmin_announcements@estia.media.uoa.gr
> http://estia.media.uoa.gr/mailman/listinfo/yasmin_announcements
>
> 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_announcements] New Publication Available Now: Rethinking Learning - Museums and Young People

*New Publication Now Available
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Publication details
ISBN: 978-0-9561943-0-5
Binding: Paperback
Published by: MuseumsEtc
Pages: 240
Price: £29.95 [including shipping]

MuseumsEtc | Hudson House | 8 Albany Street | Edinburgh | EH1 3QB | UK
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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

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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:
>
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