KUNST x TECHNIEK

een STT toekomstverkenning

Archive for the month “December, 2011”

Raamwerk Verkenning (soort van)

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Inside Installations: Preservation and Presentation of Installation Art

Inside Installations: Preservation and Presentation of Installation Art is a three-year research project (2004-2007) into the care and administration of an art form that is challenging prevailing views of conservation. Over thirty complex installations have been selected as case studies and will be re-installed, investigated and documented. Experience is shared and partners collaborate to develop good practice on five research topics. This website is a unique digital repository of the project’s results and will be filled by project partners as their research unfolds.

http://inside-installations.org/

Daan Roosegaarde @ TEDxRotterdan

Roosegaarde’s work explores the dynamic relation between space, people and technology. In this interaction his sculptures create a situation of ‘tactile high-tech’ where visitor and (public) space become one. The connection that is established between ideology and technology results in what Roosegaarde calls techno-poetry.

ART & THEORY FROM A FUTURE PERSPECTIVE

http://www.facingforward.nl

Following the successful lecture series and publications Right About Now: Art & Theory in the 1990s and Now is the Time: Art & Theory in the 21st Century, the Stedelijk Museum Amsterdam, the University of Amsterdam, the Appel arts centre, W139, the Stedelijk Museum Bureau Amsterdam and Metropolis M are presenting the lectures and series of debates, Facing Forward: Art & Theory from a Future Perspective, in collaboration with partner institutes, including the Rijksakademie voor Beeldende Kunsten (National Academy for Visual Arts) and the Goethe Institute.

Introduction

Contemporary art today is mainly about yesterday. Archiving, nostalgia, commemoration, memory, re-enactment, reconstruction, and documentation are popular themes and methods in the art world. Artists, curators, and theoreticians adopt a retrospective view in which they set out like archeologists to excavate and expose things from the past. Theoretician Dieter Roelstraete describes this trend as “the historiographic turn,” which can be largely explained by the tumultuous social developments of the last ten years. However, the use of this historical refuge carries the risk of a certain blindness. Looking back can obscure the view of the present and the future, and make it more difficult to be open to the creative potential of the unknown and the unexpected, despite this being exactly what we need in these turbulent times.

In this lecture series, Facing Forward: Art & Theory from a Future Perspective, our heads turn in the other direction and our eyes focus on the horizon of the unknown. In light of broader social developments, this orientation corresponds well with our time. In addition to the fact that financial speculation comprises one of the key aspects of contemporary (neo-)liberal society, we are inundated on a daily basis with expectations of future matters. A kaleidoscope of utopias and dystopias, time travel, cyborgs, aliens, and artificial intelligence, testaments of acceleration and progression or damnation and destruction, based on prophetic predictions and quasi-scientific arguments, feeds both our hopes and fears for what is to come.

This jungle of ideas cries for a critical vision and substantive reflection. Facing Forward: Art & Theory from a Future Perspective draws attention to a number of important social and specifically artistic themes which are closely related to this hybrid “discourse of the future.” What will art and art theory bring us? How can they change the way in which we experience the future? What role do technology, globalization, science, and politics play in this? What does it mean to look forward, to speculate, to extrapolate? Is it possible to develop a vision of the future outside these well-worn paths of utopia and dystopia? Over the course of seven evenings, celebrated international speakers and young art historians, curators, and critics will shed new light on the future of technology, freedom, the concept of history, the position of the image, eloquence, the museum, and the city.

Obviously, it is an illusion to think that we can escape the past by means of this view of the future. As Walter Benjamin described, progress is an angel positioned with its back to the future and blown forward by the wind of history. Nevertheless, this series of lectures aims to turn Benjamin’s angel around so that she faces the future. Similarly, in Italo Calvino’s novel The Invisible Cities, Marco Polo always longs for what is in front of him precisely because the present and the past also change shape in this way: “Arriving at each new city the traveller finds again a past of his that he did not know he had. The foreignness of what you no longer are or no longer possess lies in wait for you in foreign unpossessed places.” Calvino links the present, the future, and the past together here. He talks about looking forward to find answers to the past and present. In these interwoven periods of time, which can also be found in popular TV series like Heroes and Flash Forward (where the answers to today are always found in the future), we are like time travellers, going back to the future to get a grasp of our own history. Facing Forward!

Welcome to your Wondermind

Wondermind is about a few things. It’s about the brilliant, amazing and truly mind-boggling stuff that’s going on inside your brain as you grow. It’s about the art of Alice in Wonderland, the exhibition at Tate Liverpool. And it’s about putting together both of those things: mixing art with science. Being good at one doesn’t mean you can’t be good at the other (in fact, it’s often the opposite).

You might wonder, “What links all of those things together?”
You’ll soon find out. Follow us down the rabbit hole into the wonderful world of your brain…

Not sure where to start? Here are five blogs which will get you thinking:

When is a tale a tail?
What’s the difference between science and art?
Do animals understand language?
What is the porpoise of nonsense?
Have you ever forgotten the words?

Wortels spelen de Jazz, NRC Handelsblad 8 december 2011

Playful Post Digital Culture Symposium // Dries Verbruggen

SCRIBBLES

DRIES VERBRUGGEN, unfold, antwerpen, unfold.be

AFTER THE BIT RUSH

Rematerialisation carries the traces of the digital

1980s digital revolution

Post digital era?

Question whether analog or digital often not relevant

Tactile [book]

back movement, not anti-movement

Analoging the digital

Bits and pieces curator

Post-script

Human computers, script executable by humans

Lucas maasen

Compare: to make a dadaist poem, tristan tzara

Postdigitalized

Teapot, running gag in digital movies, rendering standaard

Rematerialised unborn babies,

Jorge lopes dos santos

http://www.dezeen.com/2009/07/16/the-fetus-project-by-jorge-lopes-dos-santos/

(uncanny valley, do we want it)

Postcomputer

Computers are leaking out

Interactieve planten installatie, bewegen mee, droppen zaadjes in looplijnen

NEXTNATURE.NET

Programming is much too important to leave to programmers

Jan Middendorp

Design tools first, then see what you can do with it

Making pottery digital, virtueel pottenbakken

Post social community

Open source standard for design

Postpiratebay

After the bitrush

Digital copying, what is the orignal?

[compare Jack Cohen: replicate vs. reproduce]

http://books.google.nl/books?id=-fzVk7LVvL0C&pg=PA17&lpg=PA17&dq=replicate+and+reproduce+figments+of+reality&source=bl&ots=p_lw1qE9Qy&sig=8WBxT-A5TBLWMdvDhs2tstWDxb0&hl=nl&ei=M4XiTpa_ItCdOq3ctLQE&sa=X&oi=book_result&ct=result&resnum=1&sqi=2&ved=0CB4Q6AEwAA#v=onepage&q&f=false

Piratebay for objects

Copy designers objects

Data files useful for reproduction

Playful Post Digital Culture Symposium // Russell Davies

SCRIBBLES

RUSSELL DAVIES

WHAT HAPPENS WITH SCREENS

Winky dinky

‘cult of the screen’

Many screens?

Appearing and disappearning screen?

Bigger screens, higher screens ?

tiny, crappy videos have been embraced!

“Don’t be a victim of crime”

The pervasive display (oplichtende cereal boxes)

@tomtayler

Thinking with your hands, start by buildimg rather than by thinking

City sound

The street as platform

Newspaper club

We have broken your business, now we want your machines

There are magnificent bits of infrastrucure just lying around

Connection bubbles and twitter

Express data in objects

Able to be appreciated as cultural design objects rather than technology

Crappycomp

Hobbycomp

Cognitive surplus, “i was wrong about geocities”

Cheap technology and free api + dyi is the future

Put media in objects, and the object changes

The geocities of things as opposed to the internet of things

Unmanufacturale objects, only work on dyi level

DEAF – Dutch Electronic Art Festival — V2_ Institute for the Unstable Media

Dutch Electronic Art Festival 2012
The Power of Things
International festival
16 – 20 May 2012 | Rotterdam – Amsterdam
Exhibition
17 May – 3 June | Rotterdam
VITAL MATTER – VITAL BEAUTY

‘It is the vitality of matter that makes artworks work and social systems flourish, it is the vitality of beauty that makes the world go round.’
ART . VITAL MATTER . DESIGN . VITAL BEAUTY . ARCHITECTURE . SOCIETY . SCIENCE . LIFE .

national and international artists
more than 12 locations
conference
seminars & expert meetings
education
keynotes & open brunches
lab show & lab market
music
theatre & art performance

DEAF2012 calendar

23 + 24 September 2011: DEAF2012 at TodaysArt
Presentation of Chico McMurtrie Amorphic Robot Works ‘Totemobile’ installation which will be presented in collaboration with TodaysArt in Atrium, Spui 70, The Hague City Hall, The Netherlands
November 2011: Official website online
December 2011: Ticket sales start

Contact Details

Sponsors and press please contact pr@deaf.nl
Labs for labs show please contact labsshow@deaf.nl
For more general information please contact info@deaf.nl
DEAF2012

Eendrachtsstraat 10
3012 XL Rotterdam
Netherlands
+31 (0)10 206 7272

Zoektocht naar ‘verloren Leonardo’ lijkt ten einde, NRC Handelsblad 3 december 2011

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