Monday, June 26, 2017

Re: [Yasmin_discussions] xoco

Dear Roger and all Yasminers,

it is really nice that one of the last posts in this discussion comes from
these considerations on rural Brazil and its cultures.

One of the greatest influence for our support of science/arts/technology
collaboration, and on a polyphonic conception of culture and its
manifestations is Massimo Canevacci's work with the Bororo population in
Mato Grosso. If you have not read it already, I would strongly suggest you
read his "The Line of Dust":

https://books.google.be/books/about/The_Line_of_Dust.html?id=-KaongEACAAJ&redir_esc=y

Canevacci strongly believes in Marcus' concept of multi-sited ethnography,
which in itself obliges to a trans-disciplinary approach:

in current years what happens in rurality, even the most radically far
ruralities, is informed by what happens in the metropolis. It does not make
sense to study rurality without studying the metropolis as well. This has
impacts on people's opportunities and freedoms for self-expression and
self-representation. And, in these last few years, also in terms of
auto-representation, where "auto" means "automatic", meaning algorithmic
and datafied, through the actions of platforms, governments, corporations,
research itself etc.

when performing ethnography with the Bororo, Canevacci clearly states that
imagining that he is the researcher, observing, and they are the observed
subjects, is absurd. In the Line of Dust book, for example, this fact
emerges continuously: the Bororo which becomes a professor, and gives a
lecture on their cosmology and connects it with technology; their use of
technology in their claim with the government; their relationship with the
Salesians, and with the transformation of architecture (from the
classical, cosmology-connected architecture to the one which is
administration-related, and "civil"); the rituals (for example the
extraordinary experience with the Bororo funeral, and the intricate
relationship between representation, self-representation, technology,
performance, participation, solidarity, emotion)

This leads us to support approaches like the ones supported for example by
Marco Casagrande, who, in his Third Generation City describes territories
as "a form of knowledge". For example he speaks about "ruins" (the third
generation city as the "ruin" of the industrial city) in terms of sincretic
maps of the city, as they match the layerings, transformation and mutation
of the city and of people's daily lives, cultures etc.

Or with Gilles Clément's Third Landscape, which is in its nature
polyphonic. While John Barrel spoke about the "dark side of the landscape"
speaking about the ways in which gardens represented power's materialized
view on nature, the Third Landscape is an open-source, accessible, open,
possibilistic reservoir for polyphonic views on the world. And an extreme
location for biodiversity in the city.

And it is interesting how Casagrande takes up this concept, talking about
urban rumors:

in his "Third Generation City" he says:

"Like a weed creeping into an air-conditioning machine the industrial city
will be ruined by rumors and by stories. The common subconscious will
surface to the street level and architecture will start constructing for
the stories – for the urban narrative. This will be soft, organic and as an
open source based media, the copyrights will be violated. The author will
no longer be an architect or an urban planner, but somehow a bigger mind of
people. In this sense the architects will be like design shamans merely
interpreting what the bigger nature of the shared mind is transmitting."

It is remarkable how these approaches, which are very rigorous, managing to
bring up large projects for cities, architectures, territories, etc,
require new definitions (or, following Roger's description of the "concept
of disciplines is no doubt absurd", maybe un-definitions) for disciplines
and the ways in which to traverse them: trans-discipline, maybe, more than
multi-discipline.

And they require a cultural intervention on aesthetics:

both Clément and Casagrande always speak about the necessity to achieve a
different aesthetic: how do you achieve the gaze which is able to recognize
the Third Landscape and the Third Generation City as beautiful,
interesting, valuable, etc?

Art, participation, performance, solidarity are the answers which these and
other authors give, together with an informed mash-up between sciences,
arts, technology, ethics and more.

This, for us, propagates to data, and to the whole digital realm that has
entered the scene in these years, and which is now really difficult, if not
impossible, to separate from physical.

This is why we have defined the Third Infoscape, which is for data,
information and their flows/circulations/deposit what the Third Landscape
is to urban nature and the Third Generation City is to architecture: the
myriads of micro-histories, the data/info/communication which they
generate, their polyphonic nature, their call for a new "telepathic
imperative" (see Jannifer Gabrys' wonderful "Telepathically Urban" essay) ,
and the need/call for new aesthetics and for new alliances.

Of course here the open availability, accessibility and usability of data,
information, knowledge and tools is of fundamental importance, and it
strongly questions the practices of many large players such as Google,
Facebook, Acxiom and other large scale data/information collectors and
managers, including governments and their derivations.

Not only in terms of freedom of access, but also in terms of "what" data to
collect, "who" uses it, "why" to collect such data in this way and for
these purposes, "how" to process this data, and more.

Which leads us to the necessity for a polyphonic scenario, in which
multiple approaches co-exist, influence and support each other,
ecosystemically, defining relations, separations, conflicts, differences,
solidarity, sustainability.

This, for example, has a large impact on definitions of "heritage": because
in the Third Infoscape multiple forms can co-exist, passing through myriads
of micro-histories which become elaborated in different ways, and they
co-exist, and this multiplicity is the resulting "poly-heritage"

s


On Mon, Jun 26, 2017 at 2:19 PM, roger malina <rmalina@alum.mit.edu> wrote:

> yasminers
> i am here now in brazil in santa luxia where 'the human project' is working
> on a triad of creative industries, rural health and primary education
> projects-
> they just got funding for a small building for a center for vocational
> training
> for art science and technology- stem to steam is blooming here in an
> environment
> where disciplines are meaningless !
>
> this is part of the 'human project' of ipti-
> http://www.ipti.org.br/pt/projetos/the-human-project/
> The Human Project is a model of how art, science and technology can be
> used as vectors of promotion of human development, conceived by IPTI
> and partners in 2007.
>
> i discussed the idea of cultural heritage here with saulo baretto- he
> told me the only
> indigenous group in sergipe province were the xoco people = there are
> 400 in the group
> and there is literally nothing about them on the web ( at least in
> english)- colonial history
> has left its trace
>
> https://joshuaproject.net/people_groups/18877/BR
>
> No profile text currently available. Profile suggestions welcome.
>
> Joshua Project suggests the following outline:
>
> Introduction / History
> Where are they located?
> What are their lives like?
> What are their beliefs?
> What are their needs?
> Prayer Points
>
> Submit a profile
>
> so whats my point- i think something about monocultures ( remember
> the green revolution)- jens hauser at isea reminded us that everything
> that is green is not necessarily good ( the human visual perception
> exagerates
> green in vision)= and a key idea behind biodiversity is the idea of
> mutualism
>
> as i travel back to the mediterranean to join the leo50 party in bologna i
> wonder whether even in the concept of 'cultual heritage' and indigenous
> peoples we are not guilty of mono-culturalism- maybe i will get a chance
> to meet xoco people for whom the very concept of disciplines is no doubt
> absurd
>
>
>
> roger malina
> in Brazil
> _______________________________________________
> Yasmin_discussions mailing list
> Yasmin_discussions@estia.media.uoa.gr
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>
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>
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>

--
*[**MUTATION**]* *Art is Open Source *- http://www.artisopensource.net
*[**CITIES**]* *Human Ecosystems Relazioni* - http://he-r.i
<http://human-ecosystems.com/>t
*[**NEAR FUTURE DESIGN**]* *Nefula Ltd* - http://www.nefula.com
*[**RIGHTS**]* *Ubiquitous Commons *- http://www.ubiquitouscommons.org
---
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http://www.isiadesign.fi.it/
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[Yasmin_discussions] xoco

yasminers
i am here now in brazil in santa luxia where 'the human project' is working
on a triad of creative industries, rural health and primary education projects-
they just got funding for a small building for a center for vocational training
for art science and technology- stem to steam is blooming here in an environment
where disciplines are meaningless !

this is part of the 'human project' of ipti-
http://www.ipti.org.br/pt/projetos/the-human-project/
The Human Project is a model of how art, science and technology can be
used as vectors of promotion of human development, conceived by IPTI
and partners in 2007.

i discussed the idea of cultural heritage here with saulo baretto- he
told me the only
indigenous group in sergipe province were the xoco people = there are
400 in the group
and there is literally nothing about them on the web ( at least in
english)- colonial history
has left its trace

https://joshuaproject.net/people_groups/18877/BR

No profile text currently available. Profile suggestions welcome.

Joshua Project suggests the following outline:

Introduction / History
Where are they located?
What are their lives like?
What are their beliefs?
What are their needs?
Prayer Points

Submit a profile

so whats my point- i think something about monocultures ( remember
the green revolution)- jens hauser at isea reminded us that everything
that is green is not necessarily good ( the human visual perception exagerates
green in vision)= and a key idea behind biodiversity is the idea of mutualism

as i travel back to the mediterranean to join the leo50 party in bologna i
wonder whether even in the concept of 'cultual heritage' and indigenous
peoples we are not guilty of mono-culturalism- maybe i will get a chance
to meet xoco people for whom the very concept of disciplines is no doubt absurd



roger malina
in Brazil
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Saturday, June 24, 2017

Re: [Yasmin_discussions] art*science 2017

Just to make it right
>
> 2. Annie's questioning of the choice of English as the current language for
> the list leads to the question of territory to which language is
> inextricably tight by an osmotic relation (hope it is correct in English).
> English is - at the moment- the language that represent the skin of a meta
> - place, the one that glues together various countries with the chain of
> informatics and network, the same 'region' shared by economics and
> politics. It is from here that we confront our ideas, that we brainstorm on
> the potential combination of past and new in the vision of a near future to
> shape. Also, it is from here that we are looking at a specific territory,
> the one of the Mediterrean Rim.

I did not "question the choice of English as the current
language for the list". I was one of the initiators of the
Yasmin list. English was the obvious language but you will
notice that Yasmin is open to any language from the MedRim
understood by the moderators.

I just raised the issue of languages as part of our history
and heritage. And of "automatic translation" as a
possibility for the future.

Annick
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Re: [Yasmin_discussions] art-science discussion

Just found this, just love it. History and language
preservation made possible via some silicon stuff

https://atlas.limsi.fr/

nothing theoretical to add to the discussion and no ref. either.

Best
Annick
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[Yasmin_discussions] Hans Breder, Intermedia Pioneer, Has Died

Hans Breder, Who Created a New Frontier, Breaking Artistic Boundaries, Dies at 81

The German-born Mr. Breder left New York for the University of Iowa to establish the first interdisciplinary art program of its kind.

By WILLIAM GRIMESJUNE 23, 2017

https://www.nytimes.com/2017/06/23/arts/design/hans-breder-dead-artist-who-broke-boundaries.html

Hans Breder, a German-born artist whose interest in straddling the boundaries between disciplines led him to create the Intermedia Program, the first of its kind, at the University of Iowa in 1968, died on Sunday in Iowa City. He was 81.

His wife, Barbara Welch Breder, said that the cause was complications of ischemic colitis.

Mr. Breda's minimalist sculptures were starting to attract attention in New York when his friend Ulfert Wilke, the director of the University of Iowa Museum of Art, recommended him for a faculty position at the university. Mr. Breder accepted, and began teaching an experimental drawing course in 1966.

Friends threw up their hands, warning him that he was leaving the center of the artistic universe for a cultural desert. He blithely replied, "I will bring New York to Iowa."

He did. Increasingly drawn to conceptual art and the radical political performance art being practiced by the Viennese Actionists, he asked permission to create a program that would embrace video and performance art and encourage students to move back and forth across artistic frontiers — in general, to throw off all creative constraint.

"My program conceived of intermedia not as an interdisciplinary fusing of different fields into one, but as a constant collision of concepts and disciplines," he told Artforum magazine in 2012.

The program proved to be an incubator for both students and established artists, whom Mr. Breder invited to teach and work. Robert Wilson, one of the first in a long list of visiting artists, developed his mostly silent drama "Deafman Glance" (1970) at Iowa. Other visitors included Vito Acconci, Karen Finley, Hans Haacke and Allan Kaprow. (Mr. Acconci died in April.)

Several of the program's students went on to enjoy celebrated careers, notably Charles Ray and Ana Mendieta. Mr. Breder had a 10-year romantic relationship with Ms. Mendieta, the subject of the "Ventosa" series of photographs that he took on their trips to Mexico.

Under his influence, Ms. Mendieta developed an arresting style of what she called body performances. Her career was cut short when, in 1985, she fell to her death from the high-rise apartment she shared with her husband, the sculptor Carl Andre. (Mr. Andre was charged with pushing her but was acquitted in a 1988 trial.)

Hans Dieter Breder was born on Oct. 20, 1935 in Herford, Germany, in the state of North Rhine-Westphalia. His father, Johannes, a railroad worker, died when he was 3, and he was brought up by his mother, the former Hedwig Hoener.

After studying with the Surrealist Woldemar Winkler in his late teens, Mr. Breder enrolled in the University of Fine Arts in Hamburg, graduating in 1964.

On a foreign study grant he traveled to New York, where he worked as an assistant to the kinetic sculptor George Rickey. His early work — polished metal forms or plastic cubes placed over mirrors or stripes, mingling virtual and real images — attracted the attention of the gallerist Richard Feigen, who organized a solo show of his work in 1967 in Manhattan.

"Marcel Duchamp came to the opening, shook my hand, and said, 'I like your work,'" Mr. Breder told PAJ: A Journal of Performance and Art in 2011. "An auspicious moment!"

Artistically restless, Mr. Breder began branching out. In the conceptual series "Ordered by Telephone" (1969), he called in specifications to an industrial fabricator, who assembled Plexiglas sheets into sculptures that he delivered to the Feigen gallery in Chicago without showing them to the artist.

In "Body/Sculptures," a series from the early 1970s, Mr. Breder photographed nude models holding mirror-like steel plates that transformed their legs and torsos into a biomorphic tangle.

In his recent "Opsis" series, Mr. Breder worked with a neuro-ophthalmologist and a scientific imaging specialist to translate information received by the eye's photoreceptor cone cells into brilliantly colored abstract forms, which he transferred to canvas. His video installation, "Mindscape/The Subtle Body," was shown at the Solivagant Gallery on the Lower East Side in 2015.

Mr. Breder was included in three biennials at the Whitney Museum of American Art, in 1987, 1989, and 1991. He was director of the Intermedia Program until 2000 and a founder of the Center for the New Performing Arts at the University of Iowa. His archive from the Intermedia Program has found a permanent home at the Museum Ostwall in Dortmund, Germany.

Besides his wife, he leaves no immediate survivors.

--

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Thursday, June 22, 2017

[Yasmin_discussions] art*science 2017/Leonardo 50

Dear Yasminers,

unfortunately I could not be so present in the beautiful discussion you developed on art*science topics, although I read all the interventions (maybe it is not ended yet, some of you got in touch with me about continuing, and I hope it will be). As you may imagine, I have been deeply involved in organizing the conference: a lot of work at any level, from theory to communication, from spaces' organization to graphics, from contacts to website, together with some beautiful and very good people. After all this work, which is just a prologue, I can say that I'm very satisfied of this project and on the impact it can have on the cultural world.

I want to thank Roger Malina and Nina Czegledy for the support and the ideas to the conference, as well as for the support to the Yasmin discussion. I hope that in Bologna we will have the chance to deep some of the topics suggested about Leonardo future, the art/science convergence, innovation and history, the Mediterranean rim and the intergeneration approach. We have tried to reflect these topics in the theoretical work on which the conference is based as well as in the presentations.

We have updated the website (https://artscience.online <https://artscience.online/>) and put online all the information about the presenters, the schedule and the events. We have foreseen the Yasmin dinner in the second evening (July 4) in a lovely restaurant. I suggest to the people who will come to Bologna to register in advance in the website.

We will publish the proceedings of the conference, and we are asking to the presenters, and also to the people interested in the topics, to send their final papers by July 30.

For any questions you can get in touch with art*science staff (staff@artscience.online <mailto:staff@artscience.online>) and me.

See you in Bologna!

Pier Luigi

--
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Monday, June 12, 2017

Re: [Yasmin_discussions] cultural heritage in the Byzantine metaverse

Dear Roger,

This is a good question:

> On Jun 8, 2017, at 10:32 PM, roger malina <rmalina@alum.mit.edu> wrote:

> well we still are ! where are the equivalent of 4 dimensional cave
> paintings ???

They exist, but they take a lot of work and they are difficult to make. The serious and elegant equivalent of 4-dimensional cave paintings occur in several media. One that occurred to me when I read this was the scene in the Dreamworks animated film, Prince of Egypt. This scene recounts the first two chapters of Exodus, in the form of an animation of a series of monumental wall paintings:

https://www.youtube.com/watch?v=WKcObpflMf8

It is difficult to create a visual artifact with authentic narrative power. For example, the cave paintings at Lascaux developed over many years. The exact dating and timeline are under debate, but many scholars believe that it took at least 2,000 years from starting the paintings to bringing the caves to the state in which we see them today.

One reason we don't see many such works in Second Life or Open Sim is that our society has not yet evolved to a point where we generate such works.

If I were to put it another way, the idea of a "born digital indigenous native" is a metaphor rather than a description of existing culture. No human being is born digital. We are born into human bodies, and everything we know about human beings suggests that we require many of the same qualities of human contact and social interaction that human beings have required as new-borns and infants for tens of thousands of years. What makes us human are exactly those qualities that make it impossible to be born digital.

To create works of narrative power requires us to master several vocabularies. I've wondered sometimes just how we can support the education and skill that goes into this level of mastery. The great paintings of the Renaissance and the Reformation required patronage. We have few such patrons today — universities have been a kind of halfway house or sheltered workshop, but university art departments have yielded few acknowledged masterpieces. Why that is so is open to question, but I don't see many works emerging from universities with the kind of narrative power visible at Lascaux.

I've been reading my way through some of Ursula LeGuin's novels again. I'm partway through her trilogy, The Annals of the Western Shore. LeGuin creates and sustains narrative power through the careful use of words — creating characters whose feelings and actions mirror our own. I've often wondered whether she is among the greatest living novelists because she grew up in a family of great anthropologists. Her parents were Alfred Kroeber and Theodora Kroeber (to remarry as Theodora Kroeber Quinn after Alfred's death). All of her creatures share understandable motives: human and fantastic, normal folks and wizards, spirits and dragons all operate from the twin dialectic of private self and culturally embedded members of a community.

While today's digitally engaged artists live a human life in one of their inhabited worlds, questions remain open as to the nature of their digital world, how they live in it, or what it means. Lacking a power physical presence in another world, they cannot create the kind of art that we see at Lascaux. However odd and mysterious this world is, however little we know of what it says and what it means, we can see and feel that the people who painted those walls lived in the world they depicted in a direct and physical way that the inhabitants of Second Life do not.

That's my first stab at an answer to your question.

Where can we find such works — and what would it take to create them? That's a second stab, and I'm not yet ready to attempt it.

Warm wishes,

Ken

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