BLOGS sage.medienkunst.ch http://sage.medienkunst.ch/tiki-blogs_rss.php?ver=2 Sun, 05 Sep 2010 20:15:48 +0100 Tiki CMS/Groupware via FeedCreator 1.7.2.1 http://sage.medienkunst.ch/img/tiki.jpg sage hgk fhnw http://sage.medienkunst.ch/tiki-index.php de-ch tobias.hoffmann@fhnw.ch Media Theory on the Move: Transatlantic Perspectives on Media and Mediation http://sage.medienkunst.ch/tiki-view_blog_post.php?blogId=4&postId=196 http://networkcultures.org/wpmu/weblog/2009/05/28/transatlantic/ (external link)


Media Theory on the Move: Transatlantic Perspectives on Media and Mediation

A Conference Report by Inge Ploum


On May 21 2009, 15 media theorists and philosophers from Germany, Hungary, the United States and Canada gathered in Potsdam’s Am Neuen Palais (Germany) for an international conference on different perspectives, approaches and traditions in media theory. Media Theory on the Move was organized by Dieter Mersch, chairman of Media Studies at the University of Potsdam, his colleagues at EMW (Europäische Medienwissenschaft Department of the University of Potsdam), and four esteemed MA students, sponsored the Fritz Thyssen Stiftung für Wissenschaftförderung.

For three days (program), a divers array of media scientists, theorists and philosophers had the pleasure of discussing their perspectives on media and mediation. Though the presentation titles ranged widely, from Joachim Paech’s ‘Popular Fiction, Popular Art and New Media: On the Way to Medienwissenschaft in 1970’s Germany’ to Peter Bexte’s ‘Prepositions and Things: Some Reflections on Relations’, the theme of movement continued to be the Ariadne’s thread throughout the conference. The constant motion of space and time surrounding our media landscape, coupled with our movements of thought on understanding media (ourselves and the world), turned out to be a challenging theme for discussion. It generated a heterogeneous debate including topics on the movements of interactivity, images, things, the symbolic, communication, time and contingency. In a challenging exploration of the problems floating through transatlantic media theory, philosophy and practice, ‘Media Theory on the Move’ prompted a creative and critical space-time to further develop discussions on the movement of movement.

more ... (external link)


]]> Tue, 09 Jun 2009 09:15:51 +0100 nettime-i - Position in Flux comments http://sage.medienkunst.ch/tiki-view_blog_post.php?blogId=4&postId=195 http://www.nettime.org/Lists-Archives/nettime-l-0905/threads.html (external link)
(Besser dort nachlesen)


sehr interessante Diskussion als Nachlese des Symposiums "position in flux":

]]> Tue, 09 Jun 2009 07:33:02 +0100 Biennale Venedig - Launch Embassy of Piracy http://sage.medienkunst.ch/tiki-view_blog_post.php?blogId=4&postId=194 http://manetas.com/biennale/indexhibitv070e/index.php?/projects/embassy-of-piracy/ (external link)






]]> Mon, 08 Jun 2009 21:50:34 +0100 Biennale Vendig - Der Internet Pavillion http://sage.medienkunst.ch/tiki-view_blog_post.php?blogId=4&postId=193 http://www.biennale.net/ (external link)



The Internet Pavilion


The Internet has been accepted as part of this year's Venice Biennial but not the Vatican. The Vatican church submitted a request for establishing its own, religion based, Pavilion in the Biennial but it was turned down, at least for this year. The Internet was accepted instead via the First Internet Pavilion. This text is the history and the present of the Internet Pavilion. It is written and constantly updated by Miltos Manetas and Jan Aman and it will incorporate opinions and ideas that will 'surface' on the Forum that can be found below at this page. Feel free to let your contribution and if you want, your name. Our intention is to re-define and we-write everything: all terms can be re-newed, all systems can be destroyed and build again. This Internet is cool but it is also a nightmare: a campus of un-forced work and a desert of screens. We want a new Internet and we want to be free from our machines, we want to be able to send an email without computers, blackberry and other devices. Ultimately, we want to satisfy the 3 Kleinrock complains:

1. We should be able to connect by any device
2. The device should be able to connect from anywhere
3. The device should be invisible, even immaterial.

June 02,09


The Internet is this new cool and free country floating above all the older ones. That's where we go to do many different things, communicate, create, exchange. Sadly, most people go to the Internet only to work and they start hating it and hope that it will just go away. And they are right: computers and new technology are still in the domain of Science and for reasons of manipulation, are advertised as the “World of Tomorrow”. Instead of helping us do what we really want (work less or not at all), they enslave us and now we all work more. This is not the fault of the Internet itself though, but its because it is proposed and accepted as something virtual and futuristic. We now have enough with virtual and futuristic stuff, we want instead a new Internet and even new Internets that don't hypnotize us in front of computer screens, that help us destroy the system every time that this is possible and that ultimately are our friends and will never become tools of command and repression.

]]> Mon, 08 Jun 2009 21:43:25 +0100 Was macht eigentlich Alexei Shulgin? http://sage.medienkunst.ch/tiki-view_blog_post.php?blogId=4&postId=192 http://www.vbs.tv/video.php?id=24669409001 (external link)

In this edition of Motherboard, VBS tours Electroboutique, the electronics production company cum roving cyber-art kiosk of Russia's leading non-pornographic artist, Alexei Shulgin. Shulgin hasn't been hep to the internet from its very beginning, but he's definitely been onboard since at least the Compuserve days. In the early 90s, he was one of the first artsy types to adopt the then-brand-new World Wide Web as a medium, creating web pages filled with maddening arrays of random-seeming pictures and text blocks and hidden links to games and secret files and similarly weird and frustrating link pages, as well as helping curate the work of his net-art contemporaries. Shulgin was also the organizer of the world's first international exhibition of people's computer desktops.

Part I


Part II




]]> Tue, 02 Jun 2009 21:25:51 +0100 Sience Gallery - INFECTIOUS: STAY AWAY http://sage.medienkunst.ch/tiki-view_blog_post.php?blogId=4&postId=191

INFECTIOUS: STAY AWAY


A free exhibition exploring mechanisms of contagion and strategies of containment.

OPENING HOURS: 12:00-20:00 Tuesday-Friday? and 12:00-18:00 Saturday-Sunday?
Science Gallery, Trinity College, Pearse Street, Dublin 2. Directions

Please note that the exhibition is closed on MONDAYS.
For groups of over 10 people please contact in advance.

ARE YOU INFECTED?

THE INFECTION HAS TAKEN HOLD. Over 23,000 individuals have already been exposed to the INFECTIOUS exhibition in the Science Gallery. If you are brave enough to enter the containment zone on Pearse Street you are advised to wear protective clothing. INFECTIOUS is a major new exhibition exploring mechanisms of contagion and strategies of containment through science and art including a live epidemic simulation, an opportunity to have your DNA swabbed from your cheek and analysed and to get up close and intimate with a Petri dish as you cultivate the bacteria from your lips in our Kiss Culture experiment. Looking for the results of your DNA test? Visit the PCR Lab page.


WATCH THE INFECTIOUS VIDEO:




--> more ... (external link) ]]> Tue, 02 Jun 2009 11:23:52 +0100 Heise.de - Preisträger der Ars Electronica 2009 stehen fest http://sage.medienkunst.ch/tiki-view_blog_post.php?blogId=4&postId=190 Beinahe übersehen ...



aus:http://www.heise.de/newsticker/Preistraeger-der-Ars-Electronica-2009-stehen-fest--/meldung/139465




Preisträger der Ars Electronica 2009 stehen fest


ars_electronica.jpg

Anfang des Jahres wurde das neue Ars Electronica Center (AEC) eröffnet. Linz ist in diesem Jahr Europäische Kulturhauptstadt. Vergrößern

Bild: Ars Electronica Die Veranstalter des Linzer Medienkunst-Festivals? Ars Electronica haben am heutigen Mittwoch die diesjährigen Preisträger des "Prix Ars Electronica" bekannt gegeben (PDF-Datei). Aus insgesamt 3017 Arbeiten wählten die Jury-Mitglieder? 22 Projekte aus, die nun mit "Goldenen Nicas", Sachpreisen, einem Stipendium sowie Preisgeldern bis 10.000 Euro geehrt werden. Das Gesamtpreisgeld beläuft sich in diesem Jahr auf 122.500 Euro – laut Veranstalter ist der "Prix Ars Electronica" damit der "weltweit höchstdotierte Wettbewerb für Medienkunst".



mehr ... (external link)

 

 


]]> Tue, 02 Jun 2009 07:51:57 +0100 Alexander Lehmann - Du bist Terrorist! http://sage.medienkunst.ch/tiki-view_blog_post.php?blogId=4&postId=189
--> http://www.dubistterrorist.de/ (external link) respekt + gratulation ]]> Thu, 28 May 2009 19:55:09 +0100 presseanzeiger.de - Wie man das Web 2.0 in den Griff bekommt http://sage.medienkunst.ch/tiki-view_blog_post.php?blogId=4&postId=188 http://www.presseanzeiger.de/meldungen/it-computer-internet/283560.php (external link)

25.05.2009 12:12:42

(PA) Zahlreiche Unternehmen sehen sich in der interaktiv gestalteten Medienwelt mit neuen Herausforderungen konfrontiert. Wurde früher Werbung vor allem über den Vertrieb und die Buchung von Drucksorten geregelt, nimmt heutzutage das Direktmarketing überhand. Die Gründe dafür liegen auf der Hand: die Erreichbarkeit ist garantiert, das Kundensegment kann auf Personen genau spezifiziert werden, oft machen sogar die Kunden selbst den ersten Schritt und versorgen sich mit Informationen über Newsletter und anderen Instrumenten á la Twitter. Internet ist also der neue Vertriebsweg, um sich und seine Leistungen oder Produkte zu bewerben. Doch wo es Vorteile gibt, da sind auch die Nachteile nicht weit.

[...]]

Observer – Remover – Constructor heißen die drei Schlüsselbegriffe, die das Internet auch für ihr Unternehmen zu einer angenehmen Spielwiese in Bezug auf Online Marketing und Ruf-Management? werden lassen.

Kommentar: mmmh falls jemand noch kein Thema hat ... evtl., geht da etwas automatisiert? ;-)

mehr ... (external link)
super mehr YEA!... (external link)

]]> Thu, 28 May 2009 19:29:50 +0100 we make money not art about Positions in flux http://sage.medienkunst.ch/tiki-view_blog_post.php?blogId=4&postId=186

from http://www.we-make-money-not-art.com/archives/2009/05/the-netherlands-media-art-inst.php (external link)

please read also:

 

The symposium focused on three of the most relevant topics of current media art practice: the relevance and involvement of new media art on the political and social sphere; new geographies in media art; the possibilities and challenges that the open source movement is proposing to the production of artworks or exhibitions.

Given my total and shameful laziness i probably won't have/take the time to blog everything but the Netherlands Media Art Institute will upload the videos of the talks online in the future and i'll be sure to update this blog post when this happens.

Susanne Jaschko, who curated and organized the conference, made a couple of very timely and interesting remarks in her introduction to the symposium. And that's where i'll start:

0aapositjsusanne.jpg
Image from NIMK's Positions in Flux set

There are some traces of an acceptance of new media art from the institutional art world. Last year, two exhibitions have highlighted this tendency: Deep Screen - Art in Digital Culture at the Stedelijk Museum in Amsterdam, a show organized with a double objective: getting a sample of contemporary media artists living in The Netherlands and buying some artworks to be added in the permanent collection. The second exhibition, Holy Fire at iMAL in Brussels, had the so far very unusual purpose to explore how new media art, bypassing all the stereotypes connected with its presumed immateriality and difficulties of maintenance, was able to enter the art market.

Media art has come a long way since the NIMK opened. Which does not mean that the self-conception of the whole field is not as cloudy as ever: some say that new media art has never become mature, others believe that it has reached its peak in the '90s, others would add that new media art will never integrate concepts of contemporary art, etc. Not only is the Netherlands Media Art Institute celebrating its 30th anniversary, but Transmediale has just turned 20 and Ars Electronica is going to be 30 this year, it's time to take a critical look at where we are now and which directions we want to take.

There was a time when cultural funding bodies set the course but things started to take another turn when, in 2003, the Walker Art Center decided to reduce its media art programme to a minimum and last year the whole media art community was shocked by the news that the Institute of Contemporary Art in London was closing its performance and new media program. Artistic Director Ekow Eshun justified the decision as follows:

As an institution dedicated to the contemporary moment it is important that we continually review the timeliness and relevance of our activities and at times make decisions on that basis.

New media based arts practice continues to have its place within the arts sector. However it's my consideration that, in the main, the art form lacks the depth and cultural urgency to justify the ICA's continued and significant investment in a Live & Media Arts department. Following discussion with the ICA Council and the Arts Council - and agreement from both bodies - I have decided to close the department.

At the other end of the spectrum, LABoral Art and Industrial Creation Centre, which opened in 2007, has proved over and again that it is possible to fill its gigantic white space with new media art exhibitions of great quality. And, once again, the exhibition Deep Screen at the Stedelijk has shown that some contemporary art institutions see the relevance of new media art.

So what does it mean today to be an artist in a networked society? Artists, curators and institutions today work on grounds that are increasingly loose, they struggle to define themselves. Technology -though it has lost much of its fascination- has the potential to enrich art, culture and society. It is one of the driving forces of today's society and culture, it has brought important discussions about public domain, commitment, open source, etc.

 

read more ... (external link)

 

]]> Tue, 19 May 2009 08:51:44 +0100 Geert Lovink - Political Work in the Aftermath of the New Media Arts Crisis http://sage.medienkunst.ch/tiki-view_blog_post.php?blogId=4&postId=185 http://networkcultures.org/wpmu/geert/2009/05/11/political-work-in-the-aftermath-of-the-new-media-arts-crisis/ (external link)


On the event of the Montevideo/Netherlands Media Art Institute 30th anniversary, departing curator Susanne Jaschko put together a one day symposium entitled Positions in Flux. Régine Debatty at We Make Money Not Art blogged about it. Unfortunately, I was only able to attend the morning session. The event on May 8 2009 took place in Trouw Amsterdam, the followup of Club 11. From what I heard, Positions at Flux had a critical take towards the common media art discourse and asked relevant questions. It was a relief to see that the attention was, for once, not focused on history, preservation and conservation. Cultural heritage has already taken over way too much attention space–in part because this is one of the few areas where there is still plenty of funding. Sigh. Just for one day, no celebration of “medium religion” or “art meets science”. Director Heiner Holtappels opened by noticing that new media art is not easily accepted by fine art. Traditional art has become eclecticism. According to Heiner, all art is technology based. The subject of the symposium was a visible break with the video art heritage that Montevideo has been known for. Politics topics, a courageous step? “Is there a future for us?” is a question not many institutions dare to ask. In the Dutch daily De Volkskrant of that day, ex-Montevideo curator Bart Rutten (now Stedelijk Museum) took up the role of expressing the ambivalent feelings of the Dutch art establishment towards the new but no longer young art form. Whereas he praised Montevideo’s work, he himself had moved on. “You can ask yourself if Montevideo should continue to show only media art works. In this way they preserve their specialism. It was my main reason to leave.”


more ... (external link)


]]> Tue, 19 May 2009 07:45:59 +0100 Open Source Dienstleister werden Beschwerde einreichen gegen nicht-submissionierte ... http://sage.medienkunst.ch/tiki-view_blog_post.php?blogId=4&postId=184 ? des Bundes

Die Bundesverwaltung hat mit Microsoft einen Drei-Jahres-Vertrag? über 42 Millionen Franken abgeschlossen ohne eine öffentliche Ausschreibung getätigt zu haben. Mehrere Open Source Dienstleister haben sich nun zusammengeschlossen und werden eine verwaltungsrechtliche Beschwerde einreichen.
Weitere Informationen (external link)
]]> Tue, 12 May 2009 08:06:17 +0100 transmediale Award 2010 - Call for Entries http://sage.medienkunst.ch/tiki-view_blog_post.php?blogId=4&postId=182
// Vilem Flusser Theory Award 2010 //

transmediale.10
festival for art and digital culture berlin
03 - 07 February 2010

CTM - club transmediale.10
festival for adventurous music and related visual arts
29 January - 6 February 2010

Call for Entries

Deadline: 31 July 2009
Award Ceremony: 6 February 2010, Haus der Kulturen der Welt, Berlin

Complete call, registration information and online submission form at:

http://www.transmediale.de/en/call2010-main (external link)


As leading international festivals for art and digital culture as well as
adventurous music and related visual arts, respectively, transmediale and CTM (club transmediale) are inviting submissions to the transmediale Award Competition 2010 and the Vilem Flusser Theory Award 2010. Invited are art works, projects and positions that respond to the challenges of our rapidly changing digital, technological and networked cultures. The transmediale Award seeks innovative, experimental and visionary works across a wide scope of form, process and practice that embrace, question and enrich our understanding and relationship to our immersed media and technologically driven society. Entries that exemplify new and critical forms of digital expression and interaction are encouraged, as are works from countries and regions in which digital art and culture are emergent. Submissions of art works for both festivals participate in the transmediale Award 2010 while theoretical abstracts, papers and research oriented positions are invited for the Vilem Flusser Theory Award, with prizes totaling 10.000 EURO.


transmediale presents and pursues the advancement of artistic positions reflecting on the socio-cultural, political and creative impact of new technologies, network practices and digital innovation. As a festival aiming to define the contours of contemporary digital culture, it seeks out artistic practices that not only respond to scientific or technical developments, but that shape the way in which we think about and experience the technologies which impact virtually all aspects of our daily lives. As such, transmediale understands media technologies as cultural and aesthetic techniques that need to be embraced in order to comprehend, critique, and shape global societies.


CTM (club transmediale) is dedicated to contemporary electronic, digital and experimental music and sound creation, as well as the diverse range of artistic activities and social practises that develop within and connect to those audio cultures. Thus, the festival reflects on the agency of contemporary sound creation within the cultural fabric of society and its technological and social transformations. It explores the intersections of contemporary music and audio art with other artistic forms and cultural fields. A special emphasis is put on the creative use of new technologies, the interplay of sound with other media formats, the situational potential of live performances, the formation of social networks, and the advancement of a positive form of globalization.


Previous transmediale Award winners have included renowned artists such as Herman Asselberghs, Shilpa Gupta, Graham Harwood / Richard Wright / Matsuko Yokokoji, Zhou Hongxiang, Istvan Kantor, Thomas Koener, Julia Meltzer/David Thorne, Agnes Meyer-Brandis?, Netochka Nezvanova, schoenerwissen, ubermorgen.com, Adrian Ward, Herwig Weiser and 242.pilots. The Vilem Flusser Theory Award, in collaboration with the _Vilem_Flusser_Archive of the University of Arts (UdK) Berlin, has been awarded to Simon Yuill (2008), Denis Roio aka jaromil and Brian Holmes (2009).

Jury of the transmediale Award 2010 are Michelle Kasprzak (Edinburgh), Jose Luis de Vicente (Barcelona/Madrid), Li Zhenhua (Beijing/Zurich), Yves Bernard (Brussels), Doreen Mende (Berlin/Karlsruhe).

Vilem Flusser Theory Award 2010 advisory committee members include Marcel Marburger (_Vilem_Flusser_Archive, Berlin), Oliver Grau (Danube University Krems) and Sabeth Buchmann (Academy of Fine Arts, Vienna)

transmediale Advisory Board are Alex Adriaansens (Rotterdam), Dr. Marie Cathleen Haff (Berlin), Prof. Saskia Sassen (New York), Yukiko Shikata (Tokyo).

transmediale is a project of the Kulturprojekte Berlin GmbH, in cooperation with the House of World Cultures and funded by the German Federal Cultural Foundation.
CTM is a project by DISK / club transmediale GbR funded by Hauptstadtkulturfonds and DISK Initiative Bild & Ton e.V.


We look forward to your proposals, and apologies if you have already received this announcement through other channels,


stephen kovats

artistic director
------------
transmediale.10 | 3 - 7 feb 2010
festival for art and digital culture berlin

transmediale Award 2010 submissions:
http://www.transmediale.de/en/call2010-main (external link)
------------
klosterstr. 68 - 10179 berlin - germany
fon +49 30 24749 761 fax +49 30 24749 763
http://www.transmediale.de (external link)

kulturprojekte berlin gmbh
aufsichtsratsvorsitzender volker heller
geschäftsführer moritz van dülmen
amtsgericht berlin charlottenburg, HRB 41312 B
------------

__
SPECTRE list for media culture in Deep Europe
Info, archive and help:
http://coredump.buug.de/cgi-bin/mailman/listinfo/spectre (external link)


]]> Thu, 07 May 2009 07:19:05 +0100 In was für einer digitalen Gesellschaft wollen wir leben? http://sage.medienkunst.ch/tiki-view_blog_post.php?blogId=4&postId=181 http://blog.stuttgarter-zeitung.de/?p=7020 (external link)

link (external link) zum artikel. Empfehlenswert.

Zitat:
UND ICH WÜNSCHE MIR, in einer digitalen Gesellschaft zu leben, in der das Projekt der Aufklärung mit aller Kraft fortgeführt wird. Aufklärung ist die Quelle, aus der das frische Wissen kommt. Information wird die Welt retten, so lautete die Vision der neunziger Jahre, das Wissen der Menschheit liege vor uns im Zugriff. Wo stehen wir heute? Noch sind nicht ganz so viele Menschen wie im Mittelalter wieder davon überzeugt, dass sich die Sonne um die Erde dreht, aber es wird daran gearbeitet. Die Globalisierung der Dummheit macht erstaunliche Fortschritte. Begriffe wie “Lebenslanges Lernen” sagen uns, dass Wissen immer schneller von Entwertung bedroht ist. Natürlich ist nichts gegen einfachen Zugang zu Information einzuwenden. Aber allzu leichter Gewinn verdirbt die Freude am Spiel. William James sagte, wenn das einzige Ziel des Fußballspiels darin bestünde, den Ball ins Tor zu bringen, wäre die einfachste Art zu gewinnen, den Ball nachts heimlich dorthin zu tragen.


mehr ... (external link)
]]> Tue, 07 Apr 2009 09:23:15 +0100 ZEIT - Big Brother in Paris http://sage.medienkunst.ch/tiki-view_blog_post.php?blogId=4&postId=180 http://www.zeit.de/online/2009/14/pariser-metro (external link)

Von Gero von Randow, Paris | © ZEIT ONLINE 1.4.2009 - 19:18 Uhr

In der Pariser Metro werden große Bildschirme installiert, die für die Werbewirtschaft das Bewegungsverhalten der Menschen aufzeichnen. Die Datenschützer sind alarmiert.

1,60 Meter sind sie hoch und hängen an den Wänden der Pariser Metro, die kamerabewehrten TV-Schirme. Im Bild die Station Gare du Nord

Wie überdimensionierte iPhones sehen sie aus, die 1,60 Meter hohen Bildschirme, die in der Pariser Metrostation Étoile angebracht sind.

Bisschen dick vielleicht. Steckt da etwas drin?
Sieht aus wie ein iPhone - und filmt die Menschen in den Metro-Tunneln?

© http://www.metrobus.fr/numerique/numeriflash.html (external link)

Oh, ja! Nämlich optische Messgeräte für die Bewegungsanalyse. Die Kameras sollen erfassen, wie lange die Leute vor den Bildschirmen stehen bleiben, und von welchen Bildern sie sich visuell fesseln lassen. Rechenverfahren, gegründet auf Wahrscheinlichkeitstheorien, sollen die Daten analysieren und die Ergebnisse für die Werbekunden aufbereiten. In den kommenden Wochen will die Metrogesellschaft RATP insgesamt 400 dieser Werbetafeln der Firma Metrobus installieren und 800 weitere wird die Bahngesellschaft SNCF bis Ende des Jahres aufstellen.

--> !textmehr ... (external link) ]]> Thu, 02 Apr 2009 07:26:04 +0100 Ein Prozessor aus Nervenzellen und Synapsen http://sage.medienkunst.ch/tiki-view_blog_post.php?blogId=4&postId=179 http://www.heise.de/newsticker/Ein-Prozessor-aus-Nervenzellen-und-Synapsen--/meldung/135401 (external link)

Ein internationales Team aus europäischen Wissenschaftlern hat einen Siliziumchip entwickelt, der ähnlich wie das menschliche Gehirn arbeiten soll. Mit 200.000 künstlichen Nervenzellen, die über 50 Millionen Synapsen miteinander verbunden sind, soll der Prozessor die Lernfähigkeit des Denkapparats genauer abbilden als jede Maschine zuvor, berichtet Technology Review in seiner Online-Ausgabe?.

Obwohl der Chip nur einen Bruchteil der Neuronen und Nervenverbindungen besitzt, über die der Mensch in seinem Kopf verfügt, lasse sich das Design doch hochskalieren, erläutert Karlheinz Meier, Physiker an der Universität Heidelberg, der das sogenannte FACETS-Projekt ("Fast Analog Computing with Emergent Transient States") koordiniert. Die Hoffnung der Forscher liegt darin, die Struktur des Gehirns möglichst genau nachzubilden, um zu ermitteln, wie sich massiv parallel arbeitende, leistungsstarke neue Rechner bauen lassen.

[http://www.heise.de/newsticker/Ein-Prozessor-aus-Nervenzellen-und-Synapsen/meldung/135401|> mehr ...]
]]> Tue, 31 Mar 2009 09:04:16 +0100 The AN/FSQ-7 on TV and in the Movies http://sage.medienkunst.ch/tiki-view_blog_post.php?blogId=4&postId=178 http://sturgeon.css.psu.edu/~mloewen/Q7/ (external link)



The USAF AN/FSQ-7 (SAGE) computer systems were the largest computers ever built, and were responsible for keeping a radar eye on our air space for more than 25 years until decommissioned in 1983. The Q7 was also a special effects dream, with more lights, switches and vacuum tubes than any other piece of hardware, and found its way into many science fiction movies and television programs over the years.

I served in the US Air Force from 1982 until 1986, and was in one of the last groups of computer maintenance technicians trained to work on the Q7. I was stationed at McChord? AFB in Tacoma, WA, and worked on the Q7 there from January through August of 1983, before heading back to school for training on the newer (ROCC) system. McChord's Q7 was finally turned off in the Fall of 1983.

I've been a science fiction fan ever since I could read, and have always been fascinated by robots and computers, the more lights and switches the better. I used to watch Irwin Allen's Time Tunnel series, and finally realized after I left the Air Force that the computer system in the tunnel complex was comprised of sections of the old AN/FSQ-7! After that, I started to look for the Q7 in other movies and TV programs. I've collected some pictures from various web sites as well as video captures from my own collection, and posted them here. Enjoy!

--> more ... (external link) ]]> Mon, 30 Mar 2009 18:43:35 +0100 Waves - The Art of the Electromagnetic Society http://sage.medienkunst.ch/tiki-view_blog_post.php?blogId=4&postId=177 from: http://www.neural.it/art/2009/03/armin_medosch_rasa_smite_raiti.phtml (external link)


HMKV, Armin Medosch, Rasa Smite, Raitis Smits, Inke Arns, Waves, The Art of the Electromagnetic Society, HMKV, Kettler, ISBN 9783941100008, waves.jpg


HMKV/Kettler, ISBN 9783941100008, Germany, 2008, English

Armin Medosch wisely reminds us in the beginning of his introductory essay that "we've been an electromagnetic society for over one hundred years". Waves are all over us, invisibly filling up the space as more and more electronic wave- emitting and receiving devices surround us. After a historical exhibition in Riga in 2006, this latest exhibition at the Dortmund Hartware MedienKunstVerein? goes some way towards extending the long-time research that has been conducted in the last decade by the Latvian RIXC centre. There, after the first few issues of the seminal "magazine" Acoustic Space, where many of the net.audio experiments were born, the access to the giant RT-32 radiotelescope provided a fantastic excuse to move the research forward. The latest edition of "Waves" was a strong exhibition concept that helped to free up the strict association between waves and radio, giving electromagnetic waves a unique status as an agent in the overcrowded communication world. "Waves" beyond "carrying a message" perform a lot of other functions, including activating or checking for the presence of other devices, and also polluting the environment to a still unknown extent. This pervasive and invisible world is explored extensively and in multiple directions through the careful selection of almost forty works, that are influencing our psyche, both because of their physical characteristics (their waves are affecting our brainwaves) and their cultural potential.


]]> Thu, 26 Mar 2009 14:30:54 +0100 call: One Minute Film & Video Festival Aarau/CH http://sage.medienkunst.ch/tiki-view_blog_post.php?blogId=4&postId=176 http://www.nmartproject.net/netex/?p=865 (external link)

Call for entries
Deadline: 31 May 2009

One Minute Film & Video Festival Aarau
The Festival

A Film of 60 seconds duration is only limited in the dimension of time, because to the creative Exploration and the wideness of experimental possibilities are set only a few bounderies, if any. Indeed, very often this extreme Form of short Film is a great source and inspirational platform for very concentrated, creative and extraordinary works.

The international One Minute Film & Video Festival Aarau was founded in 2003. It offers a pragmatic public platform for this special and interesting Filmformat. Beside the international competition the visitors can discover also a selection of other 1minute Festivals from around the world. These Selections are an important part of the Festival too. Altogether there are about 1000 One Minutes shown during the three days of the Festival. Filmmakers can present their Films at the filmmakers-brunch and there is Time and Space for questions and critics. Come and enjoy comedy, drama, philosophy and creativity in the rhythm of a minute.

The Competition

The Competition is the heart of the Festival. Every film that keeps to the limit of 60 seconds, can participate in the competition. The One Minute jury is responsible for announcing one award winning Film in each of the five categories:

Fiction/Documentary, Art/Experimental, Animation, U20/Youth, Best Argovian Film

Each One Minute Award includes prize money of 500 swissfrancs. The public is responsible for voting for their three favourite Films too. The Pulbic Awards includes a Videocamera and video editing software sponsered by HomeElectronic?.

Entry form
http://www.oneminute.ch/index.php?page=filmanmeldung2&hl=en_US (external link)

Regulations

1. Generally
Films must be no longer than 60 seconds.

2. All entries must be of broadcast quality.

3. Prizes and Awards
The One Minute Jury will award the following prizes:
One Minute Award Best Animation (500 CHF)
One Minute Award Best Fiction/Documentary(500 CHF)
One Minute Award Best Art/Experimental(500 CHF)
One Minute Award Best Youth/U20 (500 CHF)
One Minute Award Best Argovian Film (500 CHF)
The Audience will award the One Minute Audience Award (CHF 500CHF)

4. Movies can be sent by mail or uploaded by internet (via SENDSPACE - www.sendspace.com (external link)). Please send the Downloadlink to
or use
FileBox? - http://www.oneminute.ch/index.php?page=filmupload&hl=en_US (external link)

5. The following formats are accepted:
Physical: miniDV, DVD, Data CD
Data: export your movie as Quicktime or .avi at 720×576 pixels with dv-pal compressor, 25 frames per second and 48kh sound.

6. Postal item:
DVD`s and miniDV Tapes will be returned on request only.
Expenses for return shipment of DVD`s and miniDV Tapes are to be
paid by the addressee.

7. All tapes and dvd s from non-EU member states must be sent with a customs declaration on the packaging stating the following: “For temporary, cultural purposes only. No commercial value.”

8. Copyright:
The maker declares that he/she has the copyright of the work and should be regarded as the sole maker.

9. Entry Fee
There is no entry fee.

10. Deadline: 31.05.2009

One Minute Film & Video Festival Aarau
Postfach
CH-5001 Aarau
Switzerland


www.oneminute.ch (external link)
]]> Tue, 24 Mar 2009 11:43:01 +0100 Schafe hüten extrem ... http://sage.medienkunst.ch/tiki-view_blog_post.php?blogId=4&postId=175 http://www.schockwellenreiter.de/2009/03/23.html#schafehtenExtrem (external link)

Arduino macht es möglich:




]]> Tue, 24 Mar 2009 11:10:24 +0100 Lego NXT Dancing to the Rhythm http://sage.medienkunst.ch/tiki-view_blog_post.php?blogId=4&postId=174


Lara, a Lego-NXT-based robot, dancing to the rhythm of prodigy. It analyses the musical rhythm, based on onset detection, and embodies it with user-defined dance movements. The dance also varies with the color stepped on the dance floor (using a color sensor), while the robot (tries to) avoid the environment walls (with a sonar sensor). For more info consult http://paginas.fe.up.pt/~ee03123 (external link)
]]> Tue, 24 Mar 2009 09:01:05 +0100 CALL for Proposals -Arctic Perspective – Third Culture 2008-201 http://sage.medienkunst.ch/tiki-view_blog_post.php?blogId=4&postId=173 HMKV in der PHOENIX Halle Dortmund, Juni - Oktober 2010



Download Call for Proposals (PDF) (external link)
http://arcticperspective.org/ (external link)

Das Kooperationsprojekt Arctic Perspective – Third Culture 2008-2010 richtet den Blick auf die globale kulturelle und ökologische Bedeutung der Polarregionen.

Diese sind zugleich aktuelle Zonen geopolitischer Konflikte wie auch potentielle Räume transnationaler und interkultureller Kooperation und Zusammenarbeit. Mit dem Klimawandel rückt die wirtschaftliche Ausbeutung von noch unerschlossenen Energie- und Rohstoffreserven in den Polarregionen zunehmend in den Bereich des Möglichen.

Das Kooperationsprojekt Arctic Perspective – Third Culture 2008-2010 betont dagegen, dass die Polarregionen nicht nur von ökonomischer Bedeutung sind. Viel mehr sind die (bewohnte) Arktis und die (unbewohnte) Antarktis und die radikalen kulturellen und ökologischen Veränderungen, die sich an den beiden Polen vollziehen, zentral für ein kritisches Verständnis des komplexen globalen Systems, das aus dynamischen Beziehungen zwischen Kultur, Ökonomie, Geopolitik und Ökologie besteht.

Die Partnerorganisationen aus fünf Ländern – HMKV (Dortmund, Deutschland), The Arts Catalyst (London, Großbritannien), Projekt Atol (Ljubljana, Slowenien), Lorna (Reykjavik, Island) und C-TASC (Montréal, Kanada) – arbeiten gemeinsam daran, das öffentliche Bewusstsein für die kulturelle und ökologische Bedeutung der Arktis zu vergrößern. Ziel des Projektes ist es, einem breiten Publikum die Dringlichkeit der Probleme näher zu bringen, die sich in der Arktis besonders deutlich zeigen: die sich verändernde kulturelle Landschaft der Region, das Potential für einen neuen interkulturellen Dialog, wirtschaftliche und territoriale Interessen, ökologische Probleme, Klimawandel sowie die Auswirkungen der ökologischen Veränderungen auf das Leben der Inuit.

Das Projekt untersucht mit den Mitteln der (Medien-)Kunst und der interdisziplinären künstlerischen Forschung („third culture“) die komplexen globalen kulturellen und ökologischen Interrelationen in der Arktis, entwickelt Konzepte für die Konstruktion nachhaltiger taktischer Kommunikationssysteme und Infrastrukturen und umweltfreundliche Art/Science Forschungsstationen, die eine Intensivierung des interdisziplinären und interkulturellen Dialogs und der Kooperation befördern sollen. Die gemeinsam erarbeiteten Ergebnisse werden im Rahmen der Kulturhauptstadt Europas RUHR.2010 und im Kontext der internationalen Medienkunstkonferenz ISEA 2010 RUHR vorgestellt.



This project has been funded with support from the European Commission. This communication reflects the views only of the authors and the Commission cannot be held responsible for any use which may be made of the information contained therein.
]]> Tue, 24 Mar 2009 07:57:57 +0100 Nic Collins - Handmade Electronic Music http://sage.medienkunst.ch/tiki-view_blog_post.php?blogId=4&postId=172

from: http://books.google.ch/books?id=P1yEOTci8DMC&printsec=frontcover&hl=en&source=gbs_summary_r&cad=0 (external link)


for musicians with soldering irons ...


Preview this book




Preview this book




Buy this book
CRC Press
Amazon.com


Handmade Electronic Music: The Art of Hardware Hackingprovides a long-needed, practical, and engaging introduction for students of electronic music, installation and sound-art to the craft of makingas well as creatively cannibalizingelectronic circuits for artistic purposes. Designed for practioners and students of electronic art, it provides a guided tour through the world of electronics, encouraging artists to get to know the inner workings of basic electronic devices so they can creatively use them for their own ends. HandmadeElectronic? Musicintroduces the basic of practical circuitry while instructing the student in basic electronic principles, always from the practical point of view of an artist. It teaches a style of intuitive and sensual experimentation that has been lost in this day of prefabricated electronic musical instruments whose inner workings are not open to experimentation. It encourages artists to transcend their fear of electronic technology to launchthemselves into the pleasure of working creatively with all kinds of analog circuitry.

 


More details



Handmade Electronic Music: The Art of Hardware Hacking
By Nicolas Collins
Edition: illustrated
Published by CRC Press, 2006
ISBN 0415975921, 9780415975926
245 pages

 


]]> Thu, 19 Mar 2009 07:10:34 +0100 POOL/LOOP : audio-visual culture CAMP http://sage.medienkunst.ch/tiki-view_blog_post.php?blogId=4&postId=171 http://pool09.ch (external link)

POOL/LOOP : audio-visual culture CAMP


CALL FOR ENTRY!

deadline 30.04.2009

poolloop is a mediactivist-camp for audio-visual culture held in Rote Fabrik, Zurich, SWITZERLAND. As a descendant of our previous winter-festivals, NETlabelfestival and Copy!, pool/loop conquers the summer of the alternative lakeshore of Zurich.

For three days of freak-media production and three nights of tech-hippy camping we are looking for inspiring projects contributing to the folly of the mediacircus. poolloop focuses on projects with aspects of community and sharing, artificial sonics, alternative media-activism or collaborative and spontanous ... of ideas. call for projects in the following categories:
pool/day:

  • collaborative media projects
  • sound focused media art
  • public interventions

loop/night:

  • electronic music with fokus on live performance
  • new aproaches towards elecronic Clubmusic
  • crowd interaction
  • Experimental films & videos For Screening


submit a project: register here (external link)

If you have any question considering your participation, do not hesitate to contact us:

]]> Tue, 17 Mar 2009 08:12:22 +0100 Netherlands media art institute - positions in flux - artists and institutions in the networked ... http://sage.medienkunst.ch/tiki-view_blog_post.php?blogId=4&postId=169 e-flux
---------------------------




Netherlands Media Art Institute


Positions in flux:

artists and institutions

in the networked society

Friday May 8th, 2009



Organized by:

Netherlands Media Art Institute

Keizersgracht 264

1016 EV Amsterdam

The Netherlands

http://www.nimk.nl


Symposium location:

Trouw Amsterdam

Wibautstraat 131

1091 GL Amsterdam




 


The Netherlands Media Art Institute announces the one-day symposium Positions in flux: On the changing role of the artist and institution in the networked society. The symposium will center on some of the major parameters for the current and future development of contemporary media art. In particular it will reflect on the aspect of cultural sustainability of art projects, art and technology initiatives and art curating.



Positions in flux will give floor to international artists, theoreticians, critics, cultural producers and aims to initiate a truly critical debate. The symposium is designed for a broad audience working in the field of contemporary culture and art, with a desire to understand the future and how to respond to these changes on an artistic or institutional level. The symposium takes the form of three interlinked panels.



Art goes politics

Can art contribute to the solution of global and local problems such as religious conflicts, environmental or social crisis? Or is art constrained to raising awareness only? Should art become an agency for political and social affairs at all? How to successfully implement and conduct art projects in zones of crisis?



New territories and cultures of the digital

This panel looks in particular at young art initiatives and media art production in East Europe, the Middle East, Africa and South America. Which specific local situations shape these initiatives? And do they share common experiences, challenges and strategies? What kind of art arises from these new nodes on the digital map?



Open Source - A scheme for production and curating?

The open source movement is driven by the idea of collective, process-based, sustainable production of software. Can this scheme be applied to the production of artworks or exhibitions even? Is there a new role model for both the artist and the curator in the future? Which (economic) value does expertise have in open source production?



Speakers (selection)

● Hans Bernhard (at), artist, UEBERMORGEN.COM

● Bronac Ferran (uk), researcher, consultant and founding member of bricolabs

● Marcos Garcia (es), director of Interactivos, Medialab Prado, Madrid

● Jaromil (it/nl), artist, hacker and founder of dyne.org, researcher Netherlands Media Art Institute

● Susanne Jaschko (de/nl), chief curator Netherlands Media Art Institute

● Rob van Kranenburg (nl), thinker and author The Internet of Things

● Joasia Krysa (pl/uk), curator and founder KURATOR.ORG

● Nat Muller (nl), curator and critic

● Marcus Neustetter (za), artist and co-founder of The Trinity Session and the Southern African New Media Art Network

● Adam Somlai-Fischer? (hu), architect and programme director of Kitchen Budapest

● Yvonne Wilhelm/Christian Hübler (de/ch), artists, Knowbotic Research



The symposium will be streamed from the symposium venue, Trouw Amsterdam. Online audiences can participate in the debate in the live discussion forum.



The symposium is part of the Here we are - There we go programme at the Netherlands Media Art Institute, May 8th - 10th, 2009 which takes place on the occasion of the Institute's 30th anniversary. Here we are - There we go celebrates the Institute's achievements in these thirty years and plans for the future with an exciting open house weekend of artist talks, workshops, performances, installations, tours and a party.



Please check http://www.nimk.nl for details and updates on the programme.

Please contact info@nimk.nl for inquiries and symposium reservations.



Here we are - There we go is made possible with the kind support of the Mondriaan Foundation and the Amsterdam Fonds voor de Kunst.



 


]]> Mon, 16 Mar 2009 12:17:42 +0100 roboloco - Festival für Maschinenkunst und Robotik http://sage.medienkunst.ch/tiki-view_blog_post.php?blogId=4&postId=168

Donnerstag 7. bis Samstag 9. Mai 2009, Reitschule Grosse Halle, Bern

roboloco

Festival für Maschinenkunst und Robotik
Die Ausstellungen, Konzerte, Vorträge und Workshops rund um das Festival beschäftigen sich mit den Schnittstellen zwischen Mensch und Maschine. «roboloco» untersucht, welchen Raum neue
Technologien in unserem Alltag bereits einnehmen, befragt die vielseitigen Entwicklungen und inwieweit Roboter unsere Gesellschaft verändern?

Schauplatz des Festivals ist die Grosse Halle der Reitschule im Herzen der Stadt Bern. Veranstalter
ist die Schweizerische Gesellschaft für Mechatronische Kunst, SGMK, in Zusammenarbeit mit dem
Verein «Trägerschaft Grosse Halle» der Reitschule Bern und dem Künstlerkollektiv «Cycle Operant»
aus der Romandie.

«roboloco» ist ein Spektakel, welches in seiner spezifischen Ausrichtung und dem lustvoll-kreativem Umgang mit Technologie die öffentliche Diskussion im Grenzbereich zwischen Kunst, Wissenschaft und Gesellschaft fördert. Es soll auch zum Erfinden neuer Systeme anregen. Die Verantwortlichen legen viel Wert auf die Arbeit mit lokalen KünstlerInnen? und IngenieurInnen? sowie auf die überregionale Vernetzung mit Hochschulen und Institutionen.

Es geht um gemeinsame künstlerische Aktivitäten und den Austausch von Wissen im Bereich der
mechatronischen Kunst unter Einbezug von Mechanik, Elektronik und Informatik. «roboloco» stellt sich diesem Thema sowohl mittels künstlerischen Aneignungsprozessen als auch technischen
Programmpunkten.

Die detailierten Inhalte werden demnächst auf unserer Webseite www.diyfestival.ch/roboloco (external link) publiziert.

Aufruf zum Mitmachen (KünstlerInnen, IngenieurInnen? und StudentInnen)
Mach mit! Bei Konzerten, Ausstellung, Workshops und Vorträgen. Lass andere an Deinen
Entwicklungen und Visionen teilhaben. Sende ein Mail an .

Die Einreichfrist für Deine Teilnahme am «roboloco» läuft bis Dienstag 31. März 2009.

]]> Fri, 13 Mar 2009 18:45:28 +0100 Interview with Alex Adriaansens and Siegfried Zielinski, transmediale advisory board members http://sage.medienkunst.ch/tiki-view_blog_post.php?blogId=4&postId=167 http://tagr.tv/2009/interview-with-alex-adriaansens-and-siegfried-zielinski-transmediale-advisory-board-members (external link)

by tagr March 11th, 2009


]]> Thu, 12 Mar 2009 13:23:39 +0100 SoundLab* - http://sage.medienkunst.ch/tiki-view_blog_post.php?blogId=4&postId=166 01. About

SoundLAB - http://soundlab.newmediafest.org/ (external link)
ConcertHall? at MediaArtCentre? – http://concerthall.le-musee-divisioniste.org/ (external link)
RRF200X—>XP – http://rrf200x.newmediafest.org/ (external link)



SoundLab *

is an initiative and the space for sonic art in the framework of NewMediaArtProjectNetwork:||cologne, as “SoundLab Channel”, it was launched as a corporate part of the global networking project RRF200x—>XP on occasion of its particiaption in Biennale of Electronic Art Perth/Australia 2004

SoundLab*

a sonic art environment, a virtual & physical media space & project and an initiative directed by Agricola de Cologne, New Media curator and media artist from Cologne/Germany

is currently including and presenting
a) curatorial contributions of soundart and radioart works
b) works of individual artists curated by Melody Parker-Carter?, chief curator of SoundLab?
c) new programs of soundart and radioart extracted from existing soundart programs from Internet radio stations around the globe, for instance, Kunstradio/Vienna—>
soundart from Australia and Serbia.

SoundLab*

is focussing on thematic aspects, i.e “memory and identity” and related themes and is developed for being presented in physical space in media exhibitions and festivals, as well as in virtual space as streaming applications in the online environments of ConcertHall? at MediaArtCentre? and RRF200x—>XP.

SoundLab*

includes currently 10 curators and their contributions featuring about 200 soundart works from about 150 artists.

See all curators—>

See all artists—>

SoundLab*

can be installed/presented as a stand-alone project environment in media exhibitions or festivals or in the framework of RRF200x—>XP and its physical installations.

All works are available in virtual space online as streaming audio and can be accessed from different places

SoundLAB - http://soundlab.newmediafest.org/ (external link)
ConcertHall? at MediaArt? Centre – http://concerthall.le-musee-divisioniste.org/ (external link) and/or
RRF200X—>XP – http://rrf200x.newmediafest.org/ (external link)

For presentations in physical space, SoundLAB* is available on DVD, as well.

Future activities of SoundLab* may also include physical performances of different kind.
]]> Thu, 12 Mar 2009 07:50:09 +0100 Geert Lovink - Winter Camp 09 http://sage.medienkunst.ch/tiki-view_blog_post.php?blogId=4&postId=164

Winter Camp 09




03-07 March, 2009 | Timorplein, Amsterdam


Winter Camp is an event, organized by the Institute of Network Cultures and will take place 3-7 March ‘09 in Amsterdam. Network Cultures Winter Camp will be a mix of presentations and work spaces with an emphasis on getting things done. It will be a four-day program of work spaces and plenary presentations, in which a dozen networks (each of which has 5-15 people) can work on their specific current topics.


themes: network theory, social network, organized network, workspaces/workgroups, plenary sessions, ‘antagonistic encounters’, collaborative database.


credits: Organised by the Institute of Network Cultures. Supported by: Amsterdam Art Foundation, Stichting Democratie & Media and the Mondriaan Foundation.


website: For more information go to http://networkcultures.org/wintercamp/





]]> Tue, 10 Mar 2009 12:53:29 +0100 Ashok Sukumaran The Neighbour P3, London, UK University of Westminster http://sage.medienkunst.ch/tiki-view_blog_post.php?blogId=4&postId=163 the neighbour


March 6, 2009

The Arts Catalyst



Ashok Sukumaran

The Neighbour



13 March - 9 April 2009



P3, London, UK

University of Westminster

35 Marylebone Road, London, NW1 5LS



http://www.artscatalyst.org (external link)

http://www.p3exhibitions.com (external link)

 

Private View Thursday 12 March, 6 – 8.30pm

Admission free



"The neighbour, neither friend nor enemy, is the one who may not be in your "network", but is nevertheless in your world." (Sukumaran)



Bombay-based Ashok Sukumaran is one of the few artists in the world making work that directly addresses issues of infrastructure: the ideological and human landscapes that surround flows such as electricity, water, data and trade. Beyond the claims of infrastructures of access, his work engages with ideas of distance, hierarchy, directionality and doubt amidst the "networks". This March he presents The Neighbour in P3, in what used to be a giant concrete-testing hall, deep under the University of Westminster in central London.



This ambitious project is Sukumaran's first major one-person exhibition in the UK. In The Neighbour, two ostensibly "mobile" habitats share space. One is a "static" mobile home from the late 1970's, which developed as a way for lower-middle class families to partake in "caravan culture", or escape longer term from the city and its property regimes. The second, coming from another direction in the same period, is a camper van, which follows gypsies and travellers in an attempt to produce the continuously nomadic home, built in the car factory.



These two objects, from the inside and out, ask us to inhabit questions about the contemporary "housing industry", the overlaps in our landscapes of desire, of crisis, and the psychic dimensions of enclosure and spacing that have evolved not just among people, but also among competing machines, and their regulatory frameworks.



Sukumaran says: "these are maybe second cousins, somewhere between the family and the polis. They are neighbours as a result of a mutual migration, from more traditional forms of modernity. This is an allegory of neighbourhood, a result our inability to fully escape each other."



Psychological analyses of the neighbour (from Freud to Zizek) suggest the "logical tragedy" of the Judeo-Christian? injunction to love thy neighbour "as thyself". The landscape darkens, and curiosity, obsession and suspicion appear as deep forces that overflow the ideology of tolerance, or "safe distance" from the other. Still the neighbour remains largely unknowable, opaque.



Sukumaran: "Lurkers, pests, potential collaborators, potential spies, potential contaminants seems to appear often in our recent work. Their threat or presence shapes relations, and gives rise to the leaks, negotiations and traversals that we are interested in, those that test the older network paradigms."



Ashok Sukumaran (b.1974) came to international prominence with the extraordinary work Glow Positioning System, 2005: a public lighting installation that involved street decorators, shop owners and residents to produce a giant panorama of lights, across a city square in Bombay, that one could move with a small hand-crank. His recent work is commissioned and exhibited internationally. In 2008, he co-founded CAMP, a space for critical artistic research, imagination, and archiving projects.



Sukumaran was awarded the first prize of the 2005 UNESCO Digital Arts Award, and received a Golden Nica at the Prix Ars Electronica, 2007. He recently showed (with Shaina Anand) the video ensemble "Lossfulness" in the Indian Highway exhibition at the Serpentine Gallery, London and is currently developing (with CAMP) a two-part work on the sea trade to Somalia, for the Sharjah Biennale, 2008.



--



The Neighbour is commissioned by The Arts Catalyst, in partnership with P3.



The Arts Catalyst is a leading UK-based interdisciplinary and visual arts organisation commissioning new work that experimentally and critically engages with science.





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P3 is a 14000 square ft space developed from the vast former concrete construction hall for the University of Westminster's School of Engineering. It has recently been described as 'One of the capital's hidden and most exciting new spaces' by The Guardian.



--

P3

University of Westminster

35 Marylebone Road, London, NW1 5LS

Entrance via red gate opposite Baker Street tube

Admission free

T +44 (0)20 7911 5876

http://www.p3exhibitions.com (external link)



Opening hours: 11am – 6pm Wed, Fri, Sat, Sun and 11am – 8pm Thu





 


]]> Fri, 06 Mar 2009 12:26:32 +0100 Dieter Daniels - Kunst als Sendung http://sage.medienkunst.ch/tiki-view_blog_post.php?blogId=4&postId=162 Dieses Buch präsentiert in einem historischen Überblick die intensiven Wechselwirkungen zwischen Kunst- und Mediengeschichte von der Französischen Revolution bis heute. Es belegt in anschaulicher Schilderung und mit zahlreichen Beispielen die Bedeutung künstlerischer Utopie und Praxis für die technische Medienentwicklung – von der Telegrafie und der Fotografie über Funk und Radio bis hin zu Fernsehen und Internet.


Dieter Daniels

Kunst als Sendung
2002
315 Seiten
26 Abbildungen
Klappenbroschur
28 € D
sFr 47,10
28,80 € A :: ISBN 3-406-49509-5


]]> Thu, 19 Feb 2009 23:08:26 +0100 Christian Fuchs - Internet and Society, Social Theory in the Information Age http://sage.medienkunst.ch/tiki-view_blog_post.php?blogId=4&postId=161 http://www.neural.it/art/2009/01/christian_fuchs_internet_and_s.phtml (external link)

Christian Fuchs - Internet and Society, Social Theory in the Information Age


Christian Fuchs, Internet and Society, Social Theory in the Information Age, Routledge, ISBN 9780415961325, christian_fuchs_internet_and_society.jpg Routledge, ISBN 9780415961325, U.S.A., 2008, English

Christian Fuchs is a young and talented Austrian social scientist who focuses his research on information-society theory. In this text he's constructing a social theory of the Internet. Relating to what is commonly referred to as "social informatics", he begins to discuss concepts and historical applications of self-organization and self-cooperation in society considered as a system, and how communication is a very distinctive element here. The work also reflects on the idea of information as capital, and discusses the effects of the antithetical production models of competition and collaboration, both of which have been implemented in the internet economy. But what is remarkable is how the author is able to scientifically apply Marxism, the doctrines of the Frankfurt School and, in particular, the theory of Herbert Marcuse, to these contemporary phenomena. His analysis, in fact, proves the impact of information and communication technologies on the four cornerstones of contemporary society: the ecological, economic, political, and cultural systems. This study reveal many interesting, interconnected facts, such as Flusser’s analysis of the similarities between amphitheatre discourse and network dialogue, and the "networked" guerrilla concept of Che Guevara, in a general frame that lies on "the antagonism between sustainable potentials and unsustainable realities" (in his own words). It's an impressive text, sometimes with a classically dense academic structure of references, but it is able to comprehensively discuss society and contemporaneity using well-established philosophical tools, with a surprisingly clear and rich outcome.
]]> Thu, 05 Feb 2009 18:28:02 +0100 edited by Woody Vasulka, Peter Weibel - Buffalo Heads: Media Study, Media Practice, Media ... http://sage.medienkunst.ch/tiki-view_blog_post.php?blogId=4&postId=160 http://www.neural.it/art/2009/02/edited_by_woody_vasulka_peter.phtml (external link)

edited by Woody Vasulka, Peter Weibel - Buffalo Heads: Media Study, Media Practice, Media Pioneers, 1973-1990


Woody Vasulka, Peter Weibel, Buffalo Heads, Media Study, Media Practice, Media Pioneers, 1973, 1990, Routledge, ISBN 9780415961325, vasulka_weibel_buffalo_heads.jpg Routledge, ISBN 9780415961325, U.S.A., 2008, English

The "gargantuan book about media art" seems to be trademark ZKM. This new tome is 840 pages and weights 3.5 kilos, and is similar to "Future Cinema" and "CTRL-SPACE", two other massive books about video art history (from different perspectives). All these books are co-edited by Peter Weibel (ZKM's deus ex machina), who is also among the authors. The three books are the heavy "catalogues" of respective exhibitions, the first one hosted at ZKM. Weibel went on to co-curate Future Cinema and this latest exhibition. He is also among those artists who have had work selected in all three exhibitions. So this is only an internal affair then? Well, not really. Even if all the above seems more than coincidental, we are still talking about landmark exhibitions by ZKM, the biggest media art institution in Germany. What has been produced again (and thankfully this is well-documented in this latest book) is media art history. It's a precious document consisting of many photographs, screenshots and reproductions of original materials such as flyers, posters, programs, and lots of texts relating to the visionary foundation of the first "Department of Media Study" at the State University of New York at Buffalo, in 1973 by Gerald O'Grady. He's also one of the eight figures celebrated here together with James Blue, Tony Conrad, Hollis Frampton, Paul Sharits, Steina, Woody Vasulka, and Weibel. In each chapter there are jewels (both in visual and text formats), mostly unpublished before, confirming that here, the research factor is still the primary quality test.
]]> Thu, 05 Feb 2009 18:21:06 +0100 Anne Nigten - Processpatching, Defining New Methods in aRt&D http://sage.medienkunst.ch/tiki-view_blog_post.php?blogId=4&postId=159
PhD

Processpatching, Defining New Methods in aRt&D

investigates how electronic art patches together processes and methods from the arts, engineering and computer science environments. This investigation is positioned in the electronic art laboratory where new alliances with other disciplines are established. It aims to improve collaboration by informing others about one’s artistic research and development approach. Processpatching, Defining New Methods in aRt&D, provides information about the practical and theoretical aspects of the research and development processes of artists.
The thesis was submitted in fulfilment of the requirements for the degree of Doctor of Philosophy. Anne Nigten participated in the SMARTlab Programme in Performative New Media Arts, Central Saint Martins College of Art & Design, University of the Arts, London.


 


 


 


 


 


]]> Fri, 16 Jan 2009 16:07:56 +0100 kunstradio.at - Art’s Birthday 2009 - 16.- 18. Januar 2009 http://sage.medienkunst.ch/tiki-view_blog_post.php?blogId=4&postId=158 protectEmail('kunstradio', 'kunstradio.at', '@');
Betreff: [Xchange] Art’s Birthday 2009
Datum: 15. Januar 2009 18:30:32 GMT+01:00
An:

Art’s Birthday 2009

on air: 16 January 2009, Ö1, 23.03-24 Uhr; 18 January, Ö1 Kunstradio 23.03-23.45
Uhr
on site: 17 January 2009, 8-12pm, Kulturfabrik Hainburg, Kulturplatz 1, 2410
Hainburg an der Donau / Lower Austria
on line: http://kunstradio.at (external link), http://www.ima.or.at (external link), http://artsbirthday.net (external link)

Celebrating Art's Birthday is a tradition started by French Fluxus artist Robert
Filliou who declared, on January 17th 1963, that Art had been born exactly
1,000,000 years ago: "A man took a dry sponge and dropped it into a bucket full
of water. Who that man was is not important. He is dead but art is alive."

Filliou's wonderfully absurd idea has inspired many artists until today.
Throughout the last decades artists continued organising annual celebrations in
the spirit of Filliou's "Eternal Network" or "La Fête permanente". In 2009
people all over the world will again be preparing numerous networked birthday
parties for art.

Kunstradio is collaborating with Experimental Studio of Slovensky Rozhlas, with
IMA (Institute of Media Archaeology) and with Tilos Rádió Budapest for a
two-day-happy-birthday-event, as usual online, on site and on air. The “Fête
Permanente” will take place at the exhibition “Magical Soundmachines” at the
Kulturfabrik Hainburg on the shore of the Danube, close to Vienna and even
closer to Bratislava. “Magical Soundmachines” presents a range of unique
historical sound generators, recorders and transmitters – and they are here to
be played. http://ima.or.at/klangmaschinen (external link)

On Friday, 16 January 2009, you can witness the performances of two extravagant
orchestras formed especially for this occasion: IMA’s magical soundmachines
orchestra consists of Austrian musicians playing the rarities displayed in the
exhibition, and the second group is the intergalactic joystick orchestra put
together by Experimental Studio Bratislava.
The concert can be listened to via the EBU Ravel satellite (live 8.05-8.40pm
CET, 7.05-7.40pm GMT), on Radio Devín (8-9pm CET), on ORF’s Radio Ö1 (live
11.05-12pm CET) and Radio Tilos, Budapest as well as on kunstradio.at (live
8-12pm CET).

On Saturday, 17 January 2009, we continue with the on site party: everyone is
welcome not only to come to Kulturfabrik Hainburg, but also to bring and
present sound gifts dedicated to Art. This means: if you would like to perform,
either let us know in advance (kunstradio@kunstradio.at) or – for spontaneous
congratulations – just turn up and join in! We especially encourage using the
opportunity to listen into other parties worldwide via web streams, to mix them
and thus approach Filliou’s original vision of the Eternal Network.

Referring to the concepts of flux and spontaneity of art movements such as Dada
and Fluxus, we regard this evening as an experiment. The open mic character of
this event means that the schedule will be rather loose on Saturday, 17
January: a master of ceremony (Kunstradio has invited the Vienna based actor,
performer and theatre principal Hubsi Kramar, to be confirmed) will lead
through the evening, allowing for unpredictable situations and surprise
performers to merge into the program. En aka Pal Tóth (Budapest) and Astrid
Schwarz (Vienna) will contribute live mixes of incoming streams. The following
artists will participate: Dorit Chrysler, Klaus Filip, Gameboy Music Club,
Andrew Garton, Bernhard Fleischmann, Volkmar Klien, Matthias Mackowsky, Pia
Palme, Bruno Pisek and many more.

Since the city of Hainburg is holding their annual ball on the very same day and
right next to the “Magical Soundmachines” exhibition, we ask Art’s Birthday
visitors to dress up in their finest ball gowns and black tie – another well
mannered way of expressing our appreciation for Art.

Bus service between Vienna and Hainburg:
departure 6.30pm, Operngasse 4 / Ring
return 12pm, Kulturfabrik Hainburg
(please register at )

For those who cannot come to Hainburg but would still like to contribute by
making gifts to Art: please upload your acoustic or visual presents on
http://www.kunstradio.at/PROJECTS/AB2009/presents-call.php (external link)

or can listen into the worldwide parties online!

In it’s 1.000,0046th year of being, Art needs you more than ever…!



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http://xchange.re-lab.net (external link) (Xchange) net.audio network
xchange search/webarchive: http://xchange.re-lab.net/a/ (external link)

]]> Thu, 15 Jan 2009 17:56:21 +0100 The history of visual communication http://sage.medienkunst.ch/tiki-view_blog_post.php?blogId=4&postId=157 the title says it all.


link (external link)


]]> Sun, 11 Jan 2009 21:07:49 +0100 The Conet Project - Recordings of Shortwave Numbers Stations [ird059] () http://sage.medienkunst.ch/tiki-view_blog_post.php?blogId=4&postId=156 http://www.archive.org/details/ird059 (external link)

very strange sounds from radio --> listen !!! (external link) For more than 30 years the Shortwave radio spectrum has been used by the worlds intelligence agencies to transmit secret messages. These messages are transmitted by hundreds of Numbers Stations. Shortwave Numbers Stations are a perfect method of anonymous, one way communication. Spies located anywhere in the world can be communicated to by their masters via small, locally available, and unmodified Shortwave receivers. The encryption system used by Numbers Stations, known as a one time pad is unbreakable. Combine this with the fact that it is almost impossible to track down the message recipients once they are inserted into the enemy country, it becomes clear just how powerful the Numbers Station system is. These stations use very rigid schedules, and transmit in many different languages, employing male and female voices repeating strings of numbers or phonetic letters day and night, all year round. The voices are of varying pitches and intonation; there is even a German station (The Swedish Rhapsody) that transmits a female child's voice! One might think that these espionage activities should have wound down considerably since the official end of the cold war, but nothing could be further from the truth. Numbers Stations (and by inference, spies) are as busy as ever, with many new and bizarre stations appearing since the fall of the Berlin wall. Why is it that in over 30 years, the phenomenon of Numbers Stations has gone almost totally unreported? What are the agencies behind the Numbers Stations, and why are the eastern European stations still on the air? Why does the Czech republic operate a Numbers Station 24 hours a day? How is it that Numbers Stations are allowed to interfere with essential radio services like air traffic control and shipping without having to answer to anybody? Why does the Swedish Rhapsody Numbers Station use a small girls voice? ]]> Sat, 10 Jan 2009 23:15:12 +0100 Oliver Grau - MediaArtHistories http://sage.medienkunst.ch/tiki-view_blog_post.php?blogId=4&postId=155 



Oliver Grau (ed.): MediaArtHistories?, Cambridge, Mass.:  MIT Press 2007,  ISBN 978-0-262-07279-3,  36.- Euro
http://www.mediaarthistory.org/pub/mediaarthistories.html

Rezensiert von Martin Schulz fuer SEHEPUNKTE 8 (2008), Nr. 9.
Institut für Kunstwissenschaft und Medientheorie, Staatliche Hochschule für Gestaltung, Karlsruhe

Der geläufige Begriff der Medienkunst ist streng genommen eine Tautologie. Es gibt keine Kunst, die nicht im weitesten Sinn von einen Medium abhängig ist, bestimmt wird von seinen spezifischen Bedingungen und Möglichkeiten, die sie überhaupt erst materialisieren, zur Erscheinung bringen, dauerhaft und für alle sichtbar machen. Darüber gibt es in der Kunst und Kunstgeschichte, ohne dass der Begriff des Mediums je explizit gemacht wurde, immer schon ein Wissen, nicht zuletzt Wettbewerb und bewertenden Kanon. Doch war es die technisch revolutionäre Medienkunst im engeren und gegenwärtigen Sinn, d.h. die Phänomene der maschinell, längst elektronisch und digital generierten Kunst, die hierfür das Bewusstsein in besonderer und nachhaltiger Weise ausgeprägt hat. Umgekehrt hatten es die mechanisch hergestellten Bilder, die wiederum eine viel längere Geschichte haben als die der sogenannten Neuen Medien, immer schon schwer, mit der idea der hohen, genialen und freien Kunst seit der Renaissance gleichgestellt und überhaupt als Medien der Kunst anerkannt zu werden. Die Geschichte der Fotografie als dem ältesten der Neuen Medien ist hierfür ein prägnantes Beispiel. In den Bilderströmen der Gegenwart fällt es indessen immer schwerer, überhaupt noch die Grenzlinien zwischen Kunst, Wissenschaft, Technik, Unterhaltung und Kommerz auszumachen. Und die bloße Anwendbarkeit komplexer Technologie garantiert längst noch nicht eine künstlerische Qualität der Medienbilder.

Der englischsprachige Sammelband "MediaArtHistories", herausgegeben von Oliver Grau und erschienen in der namhaften Leonardo-Reihe? der MIT Press, vereint insgesamt 22 Beiträge von international renommierten und interdisziplinär ausgerichteten Wissenschaftlern, Künstlern und Kuratoren zu diesem weiten Themenfeld. Er bietet viele Einblicke, mediengeschichtliche Referenzen und kritische Diskussionen zu einem längst unüberschaubaren Feld an Namen und Werken, von denen viele nach wie vor schwer zugänglich und selbst deren Klassiker immer noch wenig bekannt sind. Das Buch, das teils aus der Konferenz "Refresh! The First International Conference on the Histories of Media Art, Science, and Technology" 2005 am Banff New Media Institute hervorgegangen ist, verfolgt ein mehrfach angelegtes Ziel: Die digitale Kunst in ihren Phänomenen und theoretischen Konsequenzen als Teil der Kunstgeschichte zu begreifen und darzustellen. Doch dies geschieht nicht, wie lange üblich und geleitet von einem technozentristischen Diskurs, allein auf der Grundlage der fundamental und rasant veränderten, alle Lebensbereiche durchdringenden Technologie, sondern innerhalb einer weiter gefassten, interdisziplinär und nicht zuletzt interkulturell orientierten Kunstwissenschaft. Nur in einer größer angelegten historischen, die Phänomene zugleich genau beschreibenden, analysierenden, in ihrer Qualität beurteilenden Perspektive, die nicht kurzsichtig zwischen alten und neuen Medien trennt, sondern Verbindungen und Wechselverhältnisse aufzeigen kann - nur in einer solchen Perspektive, wie sie dieser Band vorgibt, wird das Neue verständlich, werden aber die kulturellen Vorgaben deutlich und das Neue in den alten Medien sichtbar. Das Spektrum der Aufsätze reicht vom islamischen Mittelalter zur Laterna magica und bis zu Fotografie, Film und Video, von der Kunst Duchamps bis zur digitalen Medienkunst der Gegenwart.

Den Auftakt bildet ein kurzer Essay des Altmeisters der Wahrnehmungspsychologie, Rudolf Arnheim, dessen weltbekannte Bücher zur Kunst auch auf das Fach großen Einfluss haben. Sein Anliegen, die neue Medienkunst in den Horizont der überlieferten Geschichte zu integrieren, steht gleichsam als Plädoyer für das ganze Buch. Die erste Sektion heißt daher bezeichnend: "Origins: Evolution versus Revolution". Peter Weibel macht in seinem erhellenden Beitrag deutlich, dass der teils überstrapazierte Begriff des Virtuellen bereits in der kinetischen Kunst der 1960er Jahre auftaucht; während Edward Shanken darüber reflektiert, wie das Verhältnis zwischen "Art, Science, and Technology" (kurz AST genannt) methodisch und historiografisch in die Kunst der 1960er Jahre eingefügt werden kann: in eine Epoche, die konzeptuell wie technisch so gut wie alle überlieferten Rahmen gesprengt und und damit nicht zuletzt dem Verhältnis von Betrachter und Kunstwerk neue Koordinaten hinzugefügt hat. Gerade auch in ihren theoretischen, oft von den Künstlern selbst formulierten Texten wurde dies immer wieder reflektiert. Leitend ist der bekannte Aufsatz "Beyond Modern Sculpture" von Jack Burnham von 1968 und die vielen Diskussionen innerhalb des amerikanischen Modernismus. Eher schlagwortartig, summarisch und wenig historisiert fallen jedoch die vorgeschlagenen Kategorien für die Medienkunst aus, wie "Networks, Surveillance, Culture Jamming", "Simulations and Simulacra", "Interactive Context", "Communities, Collaborations, Exhibitions, Institutions". Überzeugender und origineller argumentiert der Aufsatz von Dieter Daniels, der unter dem Begriff des Mensch und Maschine verbindenden Interface eine hypothetische Beziehung herstellt zwischen Duchamps vielfach theoretisiertem Schachspiel und der "universal machine" von Turing; ebenso der Beitrag von Oliver Grau selbst, aufbauend auf seinen viel beachteten (und im Fach erstmaligen) Studien zur Kunstgeschichte der Virtuellen Realität, über Praktiken und Utopien der Telepräsenz, Immersion und Phantasmagorien artifizieller und geisterhafter Erscheinungen, die bereits in vielen visuellen Experimenten des 18. Jahrhunderts angelegt sind.

In der zweiten Sektion "Machine - Media - Exhibition" werden einige der Schlüsselbegriffe der neuen Medienkunst verhandelt. Die "automatization" als Prinzip der Bildherstellung spielt hier eine wichtige Rolle; das mechanische, sich selbst gestaltende Prinzip, das zugleich bis zu den Handabdrücken der Altsteinzeit zurückverfolgt werden kann. Edmond Couchot versteht Abdruck wie optische Projektion als Basis aller nachfolgenden mechanischen Bildprozesse, die wiederum Grundlage der analogen Medien Fotografie und Film sind. Allerdings wird der Bruch zum digitalen Bild einmal mehr vor allem auf technischer Ebene beschrieben und in die Erzählschemata (und nicht zuletzt Erfolgsgeschichte) evolutionär fortschreitender Technologie eingefügt. Zweifelsohne haben sich die Verhältnisse von Objekt, Bild und Subjekt verändert. Fraglich bleibt, wie es Oliver Grau selbst favorisiert, ob Virtualität, Immersion, Interaktivität und Animation nicht immer schon in der Bildgeschichte angelegt und vielleicht ihre eigentlichen Motoren sind. So bleibt auch die Frage offen, ob mit den Möglichkeiten digitaler Bildgenerierung auch grundlegend neue ästhetische Kategorien, gar eine neue Ontologie und eine gänzlich neue Kultur der Kunst eingeführt wurden, wie sie in den Beiträgen von Andreas Broeckmann, Ryszard W. Kluszczynski, Louise Poissant und Christiane Paul diskutiert werden. In der darauffolgenden Sektion "Pop and Science" wird der inflationär verwendete Begriff der Interaktion im Beitrag von Ron Burnett noch einmal kritisch aufgegriffen, ausführlich, luzide und historisch weit verankert diskutiert. Gerade die dialektischen Verbindungen zwischen "alten" und "neuen" Medien werden hier sehr deutlich und überzeugend aufgezeigt. Doch sicherlich sind zugleich die Verbindungen, Zusammenarbeit und wechselseitigen Durchdringungen von Kunst, Wissenschaft, Technologie, Massenkommunikation, Softwareentwicklung, Popkultur und Unterhaltungsindustrie enger und unterscheidbarer denn je zuvor, wie das insbesondere die Beiträge von Lev Manovich und Timothy Lenoir ausführen.

Die vierte und letzte Sektion widmet sich schließlich dem, was aus dem deutschen Wort "Bildwissenschaft" wörtlich übersetzt als "Image Science" bezeichnet ist. Diese Übersetzung scheint nicht ganz glücklich, da, wie es W. J. T. Mitchell, einer der prominenten Beiträger dieses Bandes, einmal selbst ausgebreitet hat, unter "Image Science" etwas sehr anderes verstanden werden kann, vornehmlich ein Anliegen der Naturwissenschaft. Hier stößt dieser Band auch an die bestehenden Grenzen des Dialogs zwischen "Bildwissenschaft" und den angloamerikanischen "Visual Studies", die mitunter sehr verschiedene Ziele verfolgen und mit unterschiedlichen Begriffen operieren. Mitchells eigener Beitrag macht noch einmal deutlich: "There are no Visual Media"! Alle Bildmedien, insbesondere auch die "alten" sind in ihren Eigenschaften "mixed media". Dies zeigt einmal mehr an, dass die Grenzlinien zwischen alten und neuen, audiovisuellen Medien nicht so deutlich verlaufen, wie es manche Apologeten der Medienkunst gerne sehen. Den letzten Beitrag liefert die ebenso in Chicago lehrende, international renommierte Wissenschaftshistorikerin Barbara Stafford. Sie bringt abschließend den für alle bild- und medienwissenschaftlichen Diskussionen schwer greifbaren, aber entscheidenden Begriff der "Mental representation" ein. Unter dem Stichwort "Picturing Uncertainty" spannt sie einen weiten und erhellenden Bogen von der Romantik bis zu den Techniken mentaler Repräsentationen der Gegenwart.

Der Band "MediaArtHistories" ist ein sehr produktives Lesebuch, das die Diskussionen über den kulturhistorischen Status des Bildes, der Kunst und seiner aktuellen Medien in einem weiten Spektrum voranbringen wird - klug mit dem Plural versehen, der anzeigt, dass nicht eine einzige und noch weniger eine lineare Geschichte der Medienkunst geschrieben werden kann.


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]]> Thu, 08 Jan 2009 18:58:03 +0100