Tuesday, March 31, 2009

Re: [Yasmin_discussions] NEW MEDIA: USER'S BEHAVIOUR, SOCIAL SYSTEMS, AND THE BODY POLITIC

Dear Yasminers,
I also welcome Jordan Crandall who joined the invited Respondents yesterday.

Best,
Ricardo Mbarkho


Biography:
Jordan Crandall (http://jordancrandall.com) is a media artist and theorist based in Los Angeles. He is Associate Professor in the Visual Arts Department at University of California, San Diego. He is currently at work on a multi-platform media work entitled "Showing," which looks at ecologies of display and the construction of the self through stagings, arousals, extensions, and intimacies. He is also at work on a development of assemblage theory that focuses on network ecologies, emergent presencing, and the dynamics of desire. He is the founding editor of the new online journal Version (http://version.org).



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Re: [Yasmin_discussions] NEW MEDIA: USER'S BEHAVIOUR, SOCIAL SYSTEMS, AND THE BODY POLITIC

Dear Yasminers,(http://jordancrandall.com)is a media artist and theorist based in Los Angeles.  He is Associate Professor in the Visual Arts Department at Universityof California, San Diego.  He is currently at work on a multi-platform media work entitled "Showing," which looks at ecologies of display and the construction of the self through stagings, arousals, extensions, and intimacies. He is also at work on a development of assemblage theory that focuses on network ecologies, emergent presencing, and the dynamics of desire.  He is the founding editor of the new online journal Version (http://version.org).
I also welcome Jordan Crandall who joined the invited Respondents yesterday.
 
Best,
Ricardo Mbarkho
 
 
Biography:
Jordan Crandall



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[Yasmin_announcements] APPEL A PARTICIPATION LaptopsRus à toutes les FEMMES VJs

APPEL A PARTICIPATION LaptopsRus à toutes les FEMMES VJs

APPEL A PARTICIPATION LaptopsRus à toutes les FEMMES VJs

Evénement : Festival Vision'R au Centre Mercoeur, Paris, 75011
Date et horaire : Le 11 avril 2009, de 21h à 01h

Nous vous invitons à vous connecter et a vous inscrire pour
l'événement VJ MEETING | REUNION, tournoi live video ouvert aux filles
VJs dans le cadre du Festival Vision'R le 11 avril 2009 à Paris.
Organisé par LaptopsRus, MEETING | REUNION est un espace public de
rencontre entre les artistes performers femmes issues de la génération
laptop, organisé à l'intérieur d'un ring de boxe haute technologie.
A la fois espace de rencontre, performance et battle, nous appelons
les femmes VJs à monter sur le ring pour s'affronter et mixer leurs
images dans un esprit collaboratif et positif.

MEETING | REUNION c'est LA soirée des filles VJs!!!
Nous invitons notamment les VJs pas encore connues du réseau Audio/
Video à nous rejoindre. Jeunes ou plus âgées, d'île de france ou
d'ailleurs, et quel que soit votre expérience en mix video, rejoignez
nous pour construire et faire grandir ensemble un réseau dynamique de
femmes performers.

Please sign on to join us!
http://www.laptopsRus.me

inquiry:
now@laptopsrus.me

Vision'R festival
http://vision-r.org/

LaptopsRus OPEN CALL to all WOMAN VJs

Venue: Vision'R festival at Mercoeur, Paris 11
Playdate: 21:00 -01:00, April 11, 2009

We invite you to sign on and join MEETING | REUNION, a tournament live
performance with woman VJs at Vision'R VJ festival, Paris on April 11,
2009.

Organized by LaptopsRus , "MEETING | REUNIÓN" is an open public
meeting of the laptop generation women live performers in an
electronically updated boxing ring tournament setting. Meeting as
performance, Reunion as tournament , we call for women Vjs to play
with/against each other in collaborative/challenging ways.__

"MEETING | REUNIÓN" is ladies' night out. We invite local woman VJs,
who maybe fresh and unknown in the AV festival circuit, to join us.
Young, old, experienced, not-so-experienced, local, out of town VJs
gather together to build and grow a dynamic woman performer network.

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Re: [Yasmin_discussions] NEW MEDIA: USER'S BEHAVIOUR, SOCIAL SYSTEMS, AND THE BODY POLITIC

Dear Yasminers,
I would first all to congratulate all of you for your active
discussions. As a physicist, I am studying these sort of dynamics
introduced by Ricardo specially financial markets. There is huge
literature in Physics devoted to the so-called "Social Atoms". Following
the same lines, we are organising a big multidisciplinar congress to be
held in Barcelona next 10-12 December. We have just opened the call for
papers. I hope you find it interesting.
All best,
Josep

*************************************************
Dear colleagues,

Please find attached a call for papers for the three-day conference
"Changing Cultures: Cultures of Change" organised by the EU-funded
research network ATACD, A topological Approach to Cultural Dynamics.

Across disciplines, topological or intensive approaches to the study of
culture treat change as normal and immanent rather than exceptional and
externally determined. In these approaches, cultures are defined by the
possibilities they offer for change rather than by their size, location
or essence. These approaches thus provide a set of tools and concepts to
think about different levels and kinds of change - learning,
transmission, innovation, adaptation, self-organisation and evolution.
This conference asks: what is the potential of topological and other
intensive approaches to culture and space for thinking about change?

Plenary speakers who have confirmed so far include: Rosi Braidotti,
Manuel DeLanda, J. Doyne Farmer, Matthew Fuller, Alex Galloway, Penny
Harvey, Scott Lash, Richard Rogers, Luc Steels, Eyal Weizmann.

There will be special events from graduate students, and for industry
and policymakers. Further information about these will be announced on
the conference page of the ATACD website http://www.atacd.net.

The deadline for paper submissions to the conference is Thursday 28 May
2009. Abstracts with a max length of 300 words will need to be submitted
online in text only format (no diagrams, tables or graphs are
permitted). Full instructions for online submission can be found on the
ATACD website:
<http://www.atacd.net/index.php?option=com_content&task=view&id=153&Itemid=40>.


In addition to the call for papers, an e-poster and an application of
interest form are also attached. We would be very grateful if you would
forward this on to your networks. For more information about the ATACD
conference or if you would like to be put on our mailing list please
email atacd@gold.ac.uk.

*******************************************************

En/na Ricardo Mbarkho ha escrit:
> Dear Yasminers,
>
>
> As you know, tomorrow Wednesday we will start a new discussion on:
> NEW MEDIA: USER'S BEHAVIOUR, SOCIAL SYSTEMS, AND THE BODY POLITIC
>
> The discussion will run through the end of April.
> For the members who just joined, here is again our topic below.
>
> You are all invited to participate,
>
> Best,
> Ricardo Mbarkho
>
> --
>
> Topic:
>
> This discussion deals with how (new) media can affect local behaviours related to creativity and innovation within a socio-political context, and what is the link between politic and the ways that users behave.
> We are interested in exploring how artistic and cultural expression in a given location can be affected by global networked systems, and the interactions with social systems and behaviours. The Intention behind artworks vs. new media as a device for being in touch, so for being creative.
>
> SMS strategies can affect politics and democracy, especially with programs based on mass voting via SMS; depending on the voting results, this social activity can challenge the community isolation versus the fear of dissolution into a more regional or global system.
> Politics uses (new) media when planning and imagining dozens of utopian models for the country; but media power is explored on the other hand by artists who reflect the absurdity of the politic.
>
>
> Virtual social networks maintain difficult relations caused by economical necessities that force families to disperse physically in order to seek living. In this vibrant atmosphere, the identity and belonging convictions are often scrambled by the eclectic media content.
> --
>
> Questions that are raised include:
> - Is (new) media a tool which reinforces people's creativity and how it is expressed in terms of social behaviour?
> - How are democracy and social connectivity via new media related?
> - Are global and local systems two separate entities, or is it about one place?
> - What is the impact of the media content on identity in your socio-politic sphere?
> - How is the economy affecting visual forms of communication?
> - Do artworks emerge from a specific Intention or from media models constrained by business requirements?
> - What new roles do virtual social networks adopt to maintain difficult relations?
>
>
>
> --
>
>
>
>
> Moderator:
>
> Ricardo Mbarkho
>
> Ricardo Mbarkho is an artist and lecturer. He was born in Beirut, Lebanon, in 1974. His works and lectures take part in many publications, media, and in education and art institutions and events in Lebanon and internationally. In his work, he often uses new media to tackle questions mainly related to human relations and belonging issues within the socio-political sphere. Ricardo Mbarkho received his Art Diplomas from Ecole Nationale Supérieure des Beaux-Arts and Ecole Supérieure d'Etudes Cinématographiques, Paris, France and from Institut Supérieur des Beaux-Arts, Beirut. He also completed an exchange study program at Carnegie Mellon University, Pittsburgh, PA, USA. He teaches art, video, and new media at the Académie Libanaise des Beaux-Arts, Beirut. Currently, he lives and works in Lebanon and France.
> www.ricardombarkho.com
>
> --
>
> Invited Respondents:
>
>
> Annie Paul
>
> Annie Paul works at the University of the West Indies, Mona, Jamaica, where she heads the Annie Paul works at the University of the West Indies, Mona , Jamaica , where she heads the Publications Section of the Sir Arthur Lewis Institute of Social and Economic Studies (SALISES). She is a founding editor of the journal Small Axe (Duke University Press) and the recipient of a grant from the Prince Claus Fund ( Netherlands ) in support of her book project, Suitable Subjects: Visual Art and Popular Culture in Postcolonial Jamaica. She has also been a contributor to the prestigious Documenta11; the AICA 2000 International Congress & Symposium at the Tate Gallery of Modern Art, London; Meridien Masterpieces, BBC World Service; Dialogos Iberoamericanos (Valencia, Spain); the Guangzhou Triennale and in forums sponsored by Iniva (Institute of International Visual Art, London). Paul is author of the blog Active Voice (http://anniepaulactivevoice.blogspot.com) and
> her website is: http://www.anniepaul.com/
>
> --
>
> Eugenio Tisselli Vélez
>
> Born in Mexico City, 1972. Writer, teacher and programmer. His areas of interest include digital narratives and technology as a tool/medium for social research. His work (installation, performance, software, text and net.art) has been featured in different festivals and exhibitions around the world, and is available at www.motorhueso.net. He is the developer of zexe.net, a mobile communication project for groups in risk of exclusion, initiated by Antoni Abad. He worked as an Associate Researcher at Sony Computer Science Lab in Paris. Currently, he is a teacher and co-director of the Master in Digital Arts at the Pompeu Fabra University, Barcelona.
>
> --
>
> Delphine Tonglet
>
> Graduated in History of Art, Delphine Tonglet collaborates with Studio Azzurro, an Italian group of video creation from 2000 to 2008 as responsible for public relations (www.studioazzurro.com). During her collaboration with Studio Azzurro she followed the project "Méditations Méditerranées, a two years production presented as a exhibition dedicated to Mediterranean area interpreted with new technologies language and other productions for exhibitions or museums dedicated to various thematic with a particular attention on territories aspects and visitor's involvement. For Studio Azzurro, she coordinated various research projects financed by European Commission, a first one dedicated to digital libraries (www.brickscommunity.org) and a second one dedicated to multimodal interfaces applied to digital theatre (www.callas-newmedia.eu); She also followed RAMI a Mediterranean project focused on Encounters on Arts and Multimedia
> (http://rami.lafriche.org/). In 2009, she started a new collaboration with yoox.com, a global internet retailing partner for the leading fashion and design brand as coordinator of special projects, multidisciplinary projects related to fashion, culture, design and art.
>
> --
>
> Tereza Wagner
>
> Tereza Wagner an art historian and a UNESCO Senior Programme Specialist dealing with arts and creative issues www.unesco.org. Her graduate and undergraduate degrees are from Paris V University, France, including a doctorate in Anthropology of Contemporary Arts. Former member of UNESCO's Arts and Cultural Enterprise Division, she is now in charge of the co-ordination of cultural events within the Cultural sector of UNESCO. During her career in UNESCO, her work operates within the framework of a professional team of specialists on an international scale: They initiated the UNESCO Prize for the Promotion of the Arts www.unesco.org/culture/creativity/prize, which includes the new UNESCO Digital Award; and launched an international campaign for film restoration including an international festival of recently restored films; and a programme for the teaching of arts which lead to the creation of the LEA International web site www.unesco.org/lea; and to the
> holding of the first World Conference on Arts Education "Building Creative Capacities for the 21st Century" (March 2006, Lisbon, Portugal). She leaded the DigiArts programme: UNESCO Knowledge Portal http://portal.unesco.org/digiarts, an initiative to promote ICT creative tools and e-Learning among people at school level. She has also published articles on African cinema, African contemporary arts and arts education in specialised magazines.
>
> UNESCO, 7, pl. de Fontenoy 75007 Paris, France
> Tel: + (33) 1 45 68 43 25; Fax: 45 68 55 89
>
> ---------
>
>
>
>
> You can subscribe to YASMIN Discussion list, or change your existing subscription below:
> http://estia.media.uoa.gr/mailman/listinfo/yasmin_discussions
>
>
>
> ---------
>
>
>
> _______________________________________________
> Yasmin_discussions mailing list
> Yasmin_discussions@estia.media.uoa.gr
> http://estia.media.uoa.gr/mailman/listinfo/yasmin_discussions
>
> Yasmin URL: http://www.media.uoa.gr/yasmin
>
> HOW TO SUBSCRIBE: click on the link to the list you wish to subscribe to. In the page that will appear ("info page"), enter e-mail address, name, and password in the fields found further down the page.
>
> HOW TO UNSUBSCRIBE: on the info page, scroll all the way down and enter your e-mail address in the last field. Enter password if asked. Click on the unsubscribe button on the page that will appear ("options page").
>
> HOW TO ENABLE / DISABLE DIGEST MODE: in the options page, find the "Set Digest Mode" option and set it to either on or off.


--
Josep Perelló
Despatx 3.11
Departament de Física Fonamental
Universitat de Barcelona
Martí i Franquès, 1
Barcelona E-08028 (Spain)

Tel 0034 934039207 | Fax 0034 934021149
josep.perello@ub.edu | http://www.ffn.ub.es/perello

Physics and Finance Group http://finance.ffn.ub.es
A Topological Approach to Cultural Dynamics http://www.atacd.net


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[Yasmin_announcements] This week moderator

Dear Yasminers,

My name is Guillermo Muñoz. I´m going to be Yasmin moderator during this
week. I would like to invite to every new yasmin members to introduce
him/herself and to describe his/her activities.

In my place, Valencia (Spain), apart from the typical rains season, it is
programed a really interesting meeting/seminars at 24/25 April called
Planetary Collegium. You can see more information at: www.salaparpallo.es

All the best,

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

HOW TO SUBSCRIBE: click on the link to the list you wish to subscribe to. In the page that will appear ("info page"), enter e-mail address, name, and password in the fields found further down the page.

HOW TO UNSUBSCRIBE: on the info page, scroll all the way down and enter your e-mail address in the last field. Enter password if asked. Click on the unsubscribe button on the page that will appear ("options page").

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[Yasmin_discussions] NEW MEDIA: USER'S BEHAVIOUR, SOCIAL SYSTEMS, AND THE BODY POLITIC

Dear Yasminers,


As you know, tomorrow Wednesday we will start a new discussion on:
NEW MEDIA: USER'S BEHAVIOUR, SOCIAL SYSTEMS, AND THE BODY POLITIC
 
The discussion will run through the end of April.
For the members who just joined, here is again our topic below.
 
You are all invited to participate,
 
Best,
Ricardo Mbarkho
 
--
 
Topic:

This discussion deals with how (new) media can affect local behaviours related to creativity and innovation within a socio-political context, and what is the link between politic and the ways that users behave.
We are interested in exploring how artistic and cultural expression in a given location can be affected by global networked systems, and the interactions with social systems and behaviours. The Intention behind artworks vs. new media as a device for being in touch, so for being creative.

SMS strategies can affect politics and democracy, especially with programs based on mass voting via SMS; depending on the voting results, this social activity can challenge  the community isolation versus the fear of dissolution into a more regional or global system.
Politics uses (new) media when planning and imagining dozens of utopian models for the country; but media power is explored on the other hand by artists who reflect the absurdity of the politic.


Virtual social networks maintain difficult relations caused by economical necessities that force families to disperse physically in order to seek living. In this vibrant atmosphere, the identity and belonging convictions are often scrambled by the eclectic media content.
--
 
Questions that are raised include:
- Is (new) media a tool which reinforces people's creativity and how it is expressed in terms of social behaviour?
- How are democracy and social connectivity via new media related?
- Are global and local systems two separate entities, or is it about one place?
- What is the impact of the media content on identity in your socio-politic sphere?
- How is the economy affecting visual forms of communication?
- Do artworks emerge from a specific Intention or from media models constrained by business requirements?
- What new roles do virtual social networks adopt to maintain difficult relations?
 
 
 
--
 
 
 
 
Moderator:
 
Ricardo Mbarkho
 
Ricardo Mbarkho is an artist and lecturer. He was born in Beirut, Lebanon, in 1974. His works and lectures take part in many publications, media, and in education and art institutions and events in Lebanon and internationally. In his work, he often uses new media to tackle questions mainly related to human relations and belonging issues within the socio-political sphere. Ricardo Mbarkho received his Art Diplomas from Ecole Nationale Supérieure des Beaux-Arts and Ecole Supérieure d'Etudes Cinématographiques, Paris, France and from Institut Supérieur des Beaux-Arts, Beirut. He also completed an exchange study program at Carnegie Mellon University, Pittsburgh, PA, USA. He teaches art, video, and new media at the Académie Libanaise des Beaux-Arts, Beirut. Currently, he lives and works in Lebanon and France.
www.ricardombarkho.com
 
--

Invited Respondents:
 

Annie Paul

Annie Paul works at the University of the West Indies, Mona, Jamaica, where she heads the Annie Paul works at the University of the West Indies, Mona , Jamaica , where she heads the Publications Section of the Sir Arthur Lewis Institute of Social and Economic Studies (SALISES). She is a founding editor of the journal Small Axe (Duke University Press) and the recipient of a grant from the Prince Claus Fund ( Netherlands ) in support of her book project, Suitable Subjects: Visual Art and Popular Culture in Postcolonial Jamaica. She has also been a contributor to the prestigious Documenta11; the AICA 2000 International Congress & Symposium at the Tate Gallery of Modern Art, London; Meridien Masterpieces, BBC World Service; Dialogos Iberoamericanos (Valencia, Spain); the Guangzhou Triennale and in forums sponsored by Iniva (Institute of International Visual Art, London). Paul is author of the blog Active Voice (http://anniepaulactivevoice.blogspot.com) and
her website is: http://www.anniepaul.com/
 
--
 
Eugenio Tisselli Vélez
 
Born in Mexico City, 1972. Writer, teacher and programmer. His areas of interest include digital narratives and technology as a tool/medium for social research. His work (installation, performance, software, text and net.art) has been featured in different festivals and exhibitions around the world, and is available at www.motorhueso.net. He is the developer of zexe.net, a mobile communication project for groups in risk of exclusion, initiated by Antoni Abad. He worked as an Associate Researcher at Sony Computer Science Lab in Paris. Currently, he is a teacher and co-director of the Master in Digital Arts at the Pompeu Fabra University, Barcelona.

--

Delphine Tonglet
 
Graduated in History of Art, Delphine Tonglet collaborates with Studio Azzurro, an Italian group of video creation from 2000 to 2008 as responsible for public relations (www.studioazzurro.com). During her collaboration with Studio Azzurro she followed the project "Méditations Méditerranées, a two years production  presented as a exhibition dedicated to Mediterranean area interpreted with new technologies language and other productions for exhibitions or museums dedicated to various thematic with a particular attention on territories aspects and visitor's involvement. For Studio Azzurro, she coordinated various research projects financed by European Commission, a first one dedicated to digital libraries (www.brickscommunity.org) and a second one dedicated to multimodal interfaces applied to digital theatre (www.callas-newmedia.eu); She also followed RAMI a Mediterranean project focused on Encounters on Arts and Multimedia
(http://rami.lafriche.org/). In 2009, she started a new collaboration with yoox.com, a global internet retailing partner for the leading fashion and design brand as coordinator of special projects, multidisciplinary projects related to fashion, culture, design and art.
 
--
 
Tereza Wagner
                                               
Tereza Wagner an art historian and a UNESCO Senior Programme Specialist dealing with arts and creative issues www.unesco.org. Her graduate and undergraduate degrees are from Paris V University, France, including a doctorate in Anthropology of Contemporary Arts. Former member of UNESCO's Arts and Cultural Enterprise Division, she is now in charge of the co-ordination of cultural events within the Cultural sector of UNESCO. During her career in UNESCO, her work operates within the framework of a professional team of specialists on an international scale: They initiated the UNESCO Prize for the Promotion of the Arts www.unesco.org/culture/creativity/prize, which includes the new UNESCO Digital Award; and launched an international campaign for film restoration including an international festival of recently restored films; and a programme for the teaching of arts which lead to the creation of the LEA International web site www.unesco.org/lea; and to the
holding of the first World Conference on Arts Education "Building Creative Capacities for the 21st Century" (March 2006, Lisbon, Portugal). She leaded the DigiArts programme: UNESCO Knowledge Portal http://portal.unesco.org/digiarts, an initiative to promote ICT creative tools and e-Learning among people at school level. She has also published articles on African cinema, African contemporary arts and arts education in specialised magazines.
 
UNESCO, 7, pl. de Fontenoy 75007 Paris, France
Tel: + (33) 1 45 68 43 25; Fax: 45 68 55 89   
 
---------
 
 
 
 
You can subscribe to YASMIN Discussion list, or change your existing subscription below:
http://estia.media.uoa.gr/mailman/listinfo/yasmin_discussions

---------



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HOW TO SUBSCRIBE: click on the link to the list you wish to subscribe to. In the page that will appear ("info page"), enter e-mail address, name, and password in the fields found further down the page.

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Monday, March 30, 2009

[Yasmin_discussions] ARTISTS AS INVENTORS---Moderator's Closing Remarks and the End of the Discussion

Dear Yasminers,

The discussion of artists as inventors throughout March 2009 has been
a richly textured, thought-provoking, and engaging experience.

Once again, I wish to thank Roger Malina for the opportunity to
moderate the discussion and our six accomplished discussants for their
insightful and lively participation: Derek Hales, Sylvie Lacerte,
Arantxa Mendiharat, Hideki Nakazawa, Barbara U. Schmidt, and Colette
Tron.

The discussion was formally designated as "YASMIN in collaboration
with ARTSACTIVE" and I thank the YASMIN list and the ARTSACTIVE
network for their generosity, patience, and expertise.

Because the discussion is archived on the YASMIN discussion list, it
was of special interest to gather original research and references to
articles, books, links, and ideas as points of departure for future
discussion and research.

In addition to the ten questions posed by the discussants that were
intended to be addressed throughout the month to "seed" the
discussion, each discussant organized an opening statement to be
posted throughout the first weeks to introduce their point of view.

In advance of the YASMIN discussion, the discussants were already in
dialogue via a mini-list (comprised of an e-mail message thread that
included all of our addresses, in which we clicked "reply all" to
communicate). We used this forum to organize ourselves discretely from
the YASMIN list, including during the online discussion. This proved
to be useful to regroup and reassess the flow of the discussion.

In advance of the discussion, I posed a list of eight foundational
questions to the discussants.

Here is the original list:

1. What makes something an invention?

2. How have artists used inventorship to establish originality in the
past and the present?

3. What are some examples of artists' inventions?

4. How is an art-related invention different from an invention that is
not tied to the conventions of art?

5. When art-related inventions attempt to transcend the art context,
what are some of the outcomes?

6. How have artists appropriated existing inventions to create innovative art?

7. To what degree has the idea of intellectual property shaped the
discourse between art and science and/or shaped discourse within these
two fields?

8. Under what circumstances does "invention" mean "fiction"?


The discussants then ruminated on the questions, which led to
augmentations, refinements, and additions. In the end, there were ten
questions, with several two-part questions.


For a quick comparison/contrast here is a the final list of revised questions:


1. What makes a work an invention?

2. How have artists used " inventorship" to establish originality in
the past and today?

3. What are some examples of artists' inventions? How have artists
inventions pioneered new areas of technological development ?

4. How is an art-related invention different from an invention that is
not tied to the conventions of art? How is an art-related invention
different from invention in other fields?

5. When art-related inventions attempt to transcend the art context,
what are some of the outcomes?

6. How have artists appropriated existing inventions to create
innovative art? Is some innovation culturally sterile.

7. To what degree has the idea of intellectual property shaped the
discourse between art and science and/or shaped discourse within these
two fields?

8. Under what circumstances does "invention" mean "fiction"?

9. Often innovations in social organization and practices are as
artists contributions of this type.

10. While inventing can be expressed, documented, and put into
practice, can it be taught? Pedagogical views on inventing are
welcome.

I have posted the original questions and the revisions here not only
to show how they shifted and enlarged through our work process, but
also because rather them simply "seeding" the discussion as we had
assumed, at various points they formed the primary structure of the
discussion---especially as it quickly moved in many different
directions at once. While the discussants and many of the list
participants' decision to diligently focus on the questions was
pragmatic, it surprised me a bit. I did not anticipate in advance how
important the questions would become to the discussion and I suddenly
began to wonder about their quality in relation to the larger topic of
artists as inventors. This thought quickly left me as I saw in the
various posts to the list a variety of complex questions that ensured
that we would not simply be tied to these questions alone, as a
limited kind of checklist.

At the start of the discussion, there was an immediately enthusiastic
flurry of posts in response to the topic and specifically to the
opening statements, which cause some confusion.

The first general opening statement about the discussion in some ways
invited some of the chaos in the responses.

Here is the part that I think might have created some confusion:

"A new generation of artists is making technical and social inventions
in pursuit of their artistic production. There is new interest in the
work of artists from laboratories, companies and public organizations
seeking ways of innovating in science and engineering. The ARTSACTIVE
network was established to promote these initiatives:
http://www.artsactive.net/en."

"ARTSACTIVE member Robert Thill is compiling a resource directory of
patents filed by artists:
http://www.artsactive.net/en/resources/patents."

I think the above part of the opening statement was so strong that it
overshadowed the paragraph that followed. In my mind, the following
statement was much more about the core of the discussion.

Here it is in all caps:

"THIS WORK HAS STIMULATED A NUMBER OF DEEPER QUESTIONS ABOUT THE
NATURE OF INVENTION, INTELLECTUAL PROPERTY AND THE WAYS THAT THE ARTS,
SCIENCES AND TECHNOLOGY INTERACT IN SOCIETY."

The primary title ARTISTS AS INVENTORS added another layer to the
discussion, which was treated in a variety of ways, including simply
ignoring it.

At the start there were nearly simultaneously posts about key figures
(Enrique Rivera posted on the Chilean pioneer inventor Carlos
Martinoya), entrepreneurial endeavors (Roger Malina posted on "the
development over the last 20 years of artists starting up companies=
artists as entrepreneurs is clearly linked to artists as inventors."),
and historical precedence (Sylvie Lacerte posted on "«9 Evenings:
Theatre and Engineering», [New York, 1966]" as the genesis of
Experiments in Art and Technology and other like programs).

How was a moderator supposed to respond to all of this? Apparently,
the answer was to wait to be saved by Simón Pérez Wilson, who offered
very good advice to a confused discussion list. He authoritatively
wrote, "I think we need to start this discussion with the parameters
and categories of what we think is an invention and their social and
technological implications in art and culture," repeating for emphasis
(and helping us along with a disciplined tone): "Start with this."

Barbara U. Schmidt followed up by writing a request for contextualized
definitions from those in various fields on the list: "What I am very
much interested in, are more precise descriptions of the concepts of
"invention", "innovation", "creativity" including the concepts of
"work" and "authorship" in relation to these different fields,"
including differences and contradictions to help find common ground.

The moderated list platform introduced some challenges to creating a
coherent discussion at times. There was also continued to be friction
between posts that eagerly and simultaneously broached different
subjects. When this aspect was brought up to Roger Malina, he wrote
that this process was not a "fine art." I responded by writing that it
also did not appear to be a "science," so that we all must be in the
right place.

Natasha Vita-More wrote: "The issue of being both a creative thinker
and a critical thinker of invention is beyond the arts/science test.
It leaps into a domain which must include strategic thinking, scenario
development, environmental scanning, forecasting, systems analysis,
etc. "

And then, despite Simón Pérez Wilson's very good advice, the list
system crashed on March 5, bringing the flood of posts to a sudden
halt. Yet, very soon the discussion quietly began again.

Ultimately, the discussion began to gather many different ideas that
together seemed to fundamentally address the convergence of a
multiplicity of value and communication systems, including law,
language, globalization or post-globalization (the joining of western
and non-western values), including ideas of sharing and bartering.
These lines of thought encompassed how value is established and
maintained and under what various circumstances. The discussion list
also offered examples of intentionally ephemeral rituals art forms,
such as "Rangoli" and sand painting. On March 4, Klaus Hu wrote: "My
quest would be to speak more about different value systems, instead of
analyzing and positioning words. Different value systems create also
different perspectives, and that would open up this "western"
aspiration of clarification, what an invention is, besides creativity
and art," pointing to his lecture upon "Space and Narrative Identity,"
which turned out to be prescient of the final themes in the
discussion.

There were also posts about artists whose work deliberately embraced
market values, attracting little commentary despite a variety of posts
that seemed to be in opposition to this idea, with the exception of
Hideki Nakazawa, who described a more circumstance-based approach,
writing on March 25 that "at different times, artists need different
strategies and options."

Arantxa Mendiharat took a pragmatic approach to the discussion's
topic, writing: "If we agree that artists are sometimes inventors,"
she asked and gave solutions to the question of "how to ensure that
both artist and society can beneficiate from those inventions?" on
March 4.

The topic of ARTISTS AS INVENTORS instead of ART AS INVENTION had a
subtle and important effect on the discussion. There were a number of
posts, including my own post of definitions, which circled around the
two terms (nouns to verbs to nouns). On March 2, I posted links to a
an online dictionary definition of "invention" and wrote:

"Since we are talking about artists as inventors, here is what is
offered by the same source for "inventor" (it redirects one to
"invent"): http://www.merriam-webster.com/dictionary/inventor."

On March 29, after Roger Malina post about the nature of consciousness
and Ramon Guardans's post about "the invention of the self," Derek
Hales commented on the discussion as follows: "I love the way this is
developing into a process philosophy of invention," after having
framed his interest in "invention as a nexus of the real and the
imaginary."

Where past posts about the inequities of various parts of the world in
relationship to ownership and wealth did not gather much traction, the
notion of "the invention of the self" captured the imagination and
seemed to appeal to the egos and the experiences of some frequent
posters on the list, including my own, at least one of whom (Simon
Biggs) very wisely (and quickly) pointed toward inventing the self in
relation to communities.

Again, the specific emphasis on the roles of artists and inventors as
the topic of the discussion created an ongoing tension, with traces of
it left throughout the discussion. Highlighting the two distinct roles
eventually led to an examination of narrative (storytelling) in
relation to the invention of the self---bring forth a complex
conception of consciousness and the multifaceted and highly
personalized construction of identity, which included Sylvie Lacerte's
reference to an artist's fictive identities.

Bringing technology in relation to subjectivity and cultural history
and commenting on the very communication system of the discussion,
Colette Tron wrote about digital writing systems taking on a
"multimedia dimension," stating that "we have to consider the
technical supports of the writing in the relationship with the
symbolic forms, that is what artists work on."

I do not think we would have ended the discussion on these last themes
and ideas if we had not begun with the focus on the roles of artists
and inventors.

Because properly summarize the month's discussion would be nearly
impossible and because it is all systematically archived by YASMIN at
the following link:
http://estia.media.uoa.gr/pipermail/yasmin_discussions, I have decided
to end with a slightly different approach. During the discussion the
sheer number of links that were dropped into the messages caught my
attention. Many of the references are complex undertakings that demand
time to comprehend. So, I thought it might be interesting to mine this
data and extract only the links that were posted in the various
threads and create a kind of catalogue of them by date. Yes, they
appear out of context but maybe that will make them useful in another
way.

I also hope there is some humor in this form of summary.

Please know that I repeated links at signature lines and included
those related to April's discussion, creating a kind of trail of URLs.

I have pasted them below (please forgive me for any omissions).

Thank you to all of my colleagues on the list. I hope projects and
relationships will continue and grow beyond our discussions of artists
as inventors this month. Many thanks to you all. I learned a great
deal.

Best,

Robert Thill
_______________

March 1, 2009
http://estia.media.uoa.gr/mailman/listinfo/yasmin_discussions
http://www.artsactive.net/en
http://www.artsactive.net/en/resources/patents
http://www.clancco.com
http://www.docam.ca/fr/?p=462
http://www.art-press.fr/index.php?v=objt
http://www.mediationduconflit.com
http://www.artsactive.net/en
http://aloalo.co.jp/nakazawa
http://media.lbg.ac.at/en/buch_detail.php?iMenuID=80&iProjectID=1250
http://media.lbg.ac.at/en/index.php
http://www.alphabetville.org
http://depositomartinoya.wordpress.com
http://www.medienkunstnetz.de/works/colloquy-of-mobiles
http://www.strandbeest.com
http://MyFrienemies.com
http://couchprojects.com
http://mechanicalolympics.org
http://www.missconceptions.net
http://www.bsing.net
http://Add-Art.org
http://visitsteve.com
http://www.boundaryobject.org
http://uk.youtube.com/iderca

March 2, 2009
http://homepage.mac.com/davidrokeby/vns.html
http://homepage.mac.com/davidrokeby/softVNS.html
http://www.docam.ca/en/?p=233
http://www.docam.ca/fr/wp-content/uploads/travail-rokeby-andt.pdf
http://www.etoy.com
http://www.rtmark.com/etoymain.html
http://inventors.about.com/cs/inventorsalphabet/a/Invent_Franklin_5.htm
http://copysouth.org
http://korakora.org/node/29
http://korakora.org
http://www.olats.org
http://www.sugimotohiroshi.com/seascape.html
http://www.olats.org
http://www.muratgermen.com
http://www.flickr.com/photos/muratgermen
http://CBRubin.net
http://www.trevorbaylisbrands.com
http://www.plataformaculturadigital.cl
http://www.merriam-webster.com/dictionary/invention
http://www.merriam-webster.com/dictionary/inventor
http://www.uspto.gov/main/glossary/index.html

March 3, 2009
http://www.fondation-langlois.org/html/e/page.php?NumPage=1716&Volet=4
http://www.chass.org.au/papers/PAP20080709GA.php
http://www.missionmodelsmoney.org.uk
http://www.anat.org.au
http://www.australiacouncil.gov.au
http://www.arts.sa.gov.au
http://www01.zkm.de/~wapo/index.html
http://www.muratgermen.com
http://www.flickr.com/photos/muratgermen
http://www.uoc.edu
http://www.uoc.edu/artnodes
http://WS02.com
http://www.cccb.org/ca/exposicio-iluminaciones_cataluna_visionaria-25703
http://www.sonoscop.net/jmb
http://www.sonoscop.net
http://www.rogervilder.com
http://www.ipo.gov.uk/about/press/press-release/press-release-2008/press-release-20080417.htm
http://www.ipwatchdog.com/inventing/patent-ideas
http://www.space123.eu
http://www.artslab.net
http://userwww.sfsu.edu/~infoarts/cdmain/res/a511.research.syllabus.html
http://userwww.sfsu.edu/%7Eswilson/art/patent/patent.html
http://www.trevorbaylisbrands.com
http://www.olats.org

March 4, 2009
http://challenge.bfi.org/ideaindex
http://www.whitney.org/www/buckminster_fuller/about.jsp
http://bfi.org/node/75
http://www.ecoliteracy.org/education/principles_of_ecology.html
http://www.biomimicry.net
http://www.id-mag.com/article/risd
http://www.elumenati.com
http://books.google.com/books?hl=en&lr=&id=JoZFgJ0gVN8C&oi=fnd&pg=PR7&dq=Art+in+the+Service+of+Nature+mark+riegner+and+john+wilkes+ORION,+1989&ots=f7QLGMbvgH&sig=r7mSJLHjxOAxZHHY30Wf6Loh2jE#PPP1,M1
http://panoscope360.com
http://tot.sat.qc.ca/dispositifs_panoscopes.html
http://www.lamic.ulaval.ca/recherche/lieux_de_recherche/laboratoire_de_visualisation
http://www.pfoac.com/index_FR.html#VIEW
http://www.item.uqam.ca/janvier2007/Gauthier.html
http://www.fondation-langlois.org/html/e/page.php?NumPage=1716&Volet=4
http://www.disonancias.com/descargas/DISONANCIAS_Options_for_the_exploitation_of_the_results_march08.PDF
http://www.artnetwork.com/mandala/gallery.html
http://www.disonancias.com
http://www.4d-dynamics.net
http://www.hostprods.net
http://www.space123.eu

March 5, 2009
No URLs

March 6, 2009
http://goto10.org/about
http://goto10.org/flossart
http://media.lbg.ac.at

March 7, 2009
http://www.senster.com
http://mitpress.mit.edu/catalog/item/default.asp?ttype=2&tid=11548
http://www.paul-brown.com
http://www.cogs.susx.ac.uk/ccnr/research/creativity.html
http://books.google.com/books?hl=en&lr=&id=JoZFgJ0gVN8C&oi=fnd&pg=PR7&dq=Art+in+the+Service+of+Nature+mark+riegner+and+john+wilkes+ORION,+1989&ots=f7QLGMbvgH&sig=r7mSJLHjxOAxZHHY30Wf6Loh2jE#PPP1,M1
http://www.asrlab.org
http://www.toutfait.com
http://www.artsactive.net/en/resources/patents

March 8, 2009
No URLs

March 9, 2009
http://www.artsactive.net/en/resources/patents
http://www.clancco.com/featured/hideki_nakazawa_art-
related_patent_inventions_in_t.html

http://aloalo.co.jp/nakazawa/200511kandada/patent_e.html
http://www.iwanami.co.jp/moreinfo/011261+/ http://aloalo.co.jp/nakazawa

March 10, 2009
No URLs

March 11, 2009
http://www.superflex.net
http://www.superflex.net/text/articles/an_exchange_between.shtml
http://www.artspace.org.nz/exhibitions/2008/superflex.asp
http://v3.espacenet.com/publicationDetails/biblio?KC=A&date=19991224&NR=88798A&DB=EPODOC&locale=en_EP&CC=DK&FT=D
http://v3.espacenet.com/publicationDetails/biblio?KC=A&date=19991224&NR=88898A&DB=EPODOC&locale=en_EP&CC=DK&FT=D
http://int.dkpto.dk
http://www.superflex.net/text/articles/willbradley.shtml
http://www.superflex.net/text/articles/acknowledging.shtml
http://www.superflex.net/tools/supergas
http://www.wipo.int/pctdb/en/fetch.jsp?LANG=ENG&DBSELECT=PCT&SERVER_TYPE=19-10&SORT=41258550-KEY&TYPE_FIELD=256&IDB=0&IDOC=155039&C=10&ELEMENT_SET=B&RESULT=1&TOTAL=1&START=1&DISP=25&FORM=SEP-0/HITNUM,B-ENG,DP,MC,AN,PA,ABSUM-ENG&SEARCH_IA=DK1999000357&QUERY=%28WO%2fWO1999067176%29+AND+%28IN%2f%29+/
http://84.238.114.205/press/images/supergasmeta2.jpg
http://www.superflex.net/tools/supercopy/lamp.shtml

March 12, 2009
http://www.docam.ca/en/wp-content/GL/GL1Intro.html
http://www.disonancias.com/en
http://www.disonancias.com/en/conducted-researches/concerning-the-organizational-model/lantegi-batuak-y-amaste-%5B2008%5D

March 13, 2009
No URLs

March 14, 2009
http://www.thepopshop.org
http://www.facebook.com/profile.php?id=1270391080
http://14tc.com

March 15, 2009
http://www.thingsthatfall.com/dirt.php
http://trouble.net.free.fr/TROUBLE/trouble-englishe.html

March 16, 2009
http://www.lukejerram.com
http://web.mit.edu/museum/exhibitions/connections
http://muse.jhu.edu/login?uri=/journals/leonardo/v042/42.2.ingoldsby.html
http://www.utbm.fr/upload/gestionFichiers/cahier_recits_4_1292.pdf
http://www.tate.org.uk/modern/eventseducation/film/17876.htm
http://www.centerforvisualmusic.org
http://www.olats.org/schoffer/spatiody.htm

March 17, 2009
No URLs

March 18, 2009
http://www.artcatalyse.eu/expositionsenfrance_expositionsdebuteespage2_gakonaaupalaisdetokyo.htm
http://www.esa.int/esapub/br/br176/br176.pdf

March 19, 2009
http://www.lephiltre.com
http://www.ronkom.com

March 20, 2009
http://www.4d-dynamics.net/ddr7
http://www.youtube.com/4ddynamics
http://estia.media.uoa.gr/mailman/listinfo/yasmin_discussions
http://www.ricardombarkho.com
http://www.ricardombarkho.com
http://www.anniepaul.com
http://portal.unesco.org/digiarts
http://triplecandie.org/Triple%20Candie%20About%20Purposes.html

March 21, 2009
No URLs

March 22, 2009
No URLs

March 23, 2009
http://www.boundaryobject.org .
http://uk.youtube.com/iderca

March 24, 2009
http://crca.ucsd.edu/~hcohen
http://www.technoromanticism.com
http://leonardo.info/isast/leobooks/books/coyne_technoromanticism.html
http://leonardo.info/isast/leobooks/books/wilson.html
http://userwww.sfsu.edu/~infoarts/links/wilson.artlinks2.html
http://www.eca.ac.uk
http://www.eca.ac.uk/circle
http://www.littlepig.org.uk

March 25, 2009
http://www.aloalo.co.jp/nakazawa

March 26 2009
http://www.cca.rca.ac.uk/thismuchiscertain/exhib_pieroth.html
http://www.portikus.de/ArchiveA0123.html
http://media.lbg.ac.at
http://www.muratgermen.com
http://www.flickr.com/photos/muratgermen
http://muratgermen.wordpress.com

March 27, 2009
http://www.disonancias.com
http://www artsactive.net
http://www.interface.ufg.ac.at

March 28, 2009
http://www.avatarlondon.org
http://www.popkalab.com/suffering.html

March 29, 2009
http://www.fondation-langlois.org/html/e/page.php?NumPage=1961
http://www.verafrenkel.com

March 30, 2009
http://aloalo.co.jp/nakazawa

March 31, 2009
http://www.artsactive.net/en
http://www.artsactive.net/en/resources/patents
http://www.merriam-webster.com/dictionary/inventor
http://estia.media.uoa.gr/pipermail/yasmin_discussions

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[Yasmin_discussions] ARTISTS AS INVENTORS, art as invention

Dear Robert, Roger and All,

I am glad to have participated in this dicussion "Artists as
Inventors" throughout this month. I am sorry for my poor
English and that I could not comment directly on the first
10 questions given by Robert and Roger.

As my closing statement, I would like to come back to the
well-known old fact that art (ars) and technology (techne)
were the same word in their origine and had the same meaning
before the modern period. Leonard da Vinci considered
painting science. Today the meanings of these two words
differ each other, but not in total. I think the core of art
and the essence of technology are sometimes very similar even
today, which might be the reason why this topic "Artists as
Inventors" was so deep and so interesting, and why I have
been persisted in the idea "art as invention / invention as
art" till the last.

Best wishes,

Hideki Nakazawa
http://aloalo.co.jp/nakazawa/
_______________________________________________
Yasmin_discussions mailing list
Yasmin_discussions@estia.media.uoa.gr
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[Yasmin_announcements] Fwd: CEMA call for admissions

The Center for Experimental Media Arts (CEMA) at the Srishti School
of Art Design & Technology (Bangalore, India) seeks artists, hackers,
writers, engineers and scientists of all variations to enroll in the
advanced diploma in Experimental Media Arts.  Students will join the
CEMA lab for 2.5 years and work with artists in residence and Srishti
faculty on collaborative and individualized transdisplinary research.

Applications are accepted on a rolling basis until the beginning of
the semester.

The fall semester begins in Bangalore, in July.
For more information about the lab and the advanced diploma visit:
http://cema.srishti.ac.in/
Prospective students can find out how to apply here: http://
cema.srishti.ac.in/content/admissions

Questions should be directed to gabriel@srishti.ac.in

FAQ for APPLICANTS:

ENTRY REQUIREMENTS

Q: What kind of undergraduate (UG) degree do I need?

Students who have completed a degree in the Arts, Architecture,
Science, Engineering, Humanities, Law, Social Sciences or Business
are eligible for entry. If the candidate has not completed a UG, 2-4
years of professional experience may be considered as an equivalent
to UG. All others are considered on a case by case basis. There is no
age requirement for entry into the program. The requirements for
applying to the program are:
1. an application form with personal statement
2. A portfolio of work and / or writings.
Appropriate candidates will be invited for a personal interview.

Q: What type of students do you accept?

Successful candidates for the Advanced Diploma in Experimental Media
Arts will have a variety of interests and accomplishments. We do not
expect all candidates to have formal training in the visual or media
arts, but candidates should express an interest in creatively
engaging topics using experimental media arts as a medium of
investigation. In the past students have arrived at the lab and begun
work in areas such as Physical Computing, Bio-Arts, Participatory
Design, and Tactical Media. Successful candidates demonstrate
combinations of curiosity, self-direction, open-mindedness and maturity.

Q: What should be in my portfolio?

Candidates for entry into the CEMA advanced diploma may have a
variety of achievements in art and non-art background. Although not
all candidates will have a proper visual art portfolio we require a
portfolio of work or accomplishments. This portfolio may include
anything from published scientific papers to poetry, blogs or
documentation of political activism. We know that candidates have a
variety of interests and backgrounds and the portfolio is an
opportunity to share those with the selection committee.

Q: Are international students allowed to apply?

Yes. Srishti is an international institution. All course work at
Srishti is conducted in English. We have many students, faculty and
visitors from around the world. If you are not from India and have
questions about studying and living in India please contact us by
email and we will be happy to answer your questions.

THE ADVANCED DIPLOMA PROGRAM

Q: What will I learn at the lab?

It is expected that students in the Advanced Diploma in Experimental
Media Art will:

produce creative work | bring their work to the world through
exhibition and distribution | develop collaborative strategies for a
variety of situations | increase their global network of individuals
and organizations through internships and participation in e-
communities | engage with local organizations and communities in and
around Bangalore | engage in critical reflection of their work and
the work of their peers | articulate verbally and in text the social,
political, and technological implications of their creative work |
develop an ethical framework for their creative work

Q: How much does the program cost?

The program fees are 125,000 rp. a year. [US$ 3,150] [Euro: 2,170]

Q: Where is the lab located?

The CEMA lab is a part of the Srishti School of Art, Design and
Technology located in Bangalore, India.The School is in the Yelehanka
(New Town) neighborhood, very close to the new International Airport.
The 2.5 year program is an in-residence program, although there are
opportunities for travel to conferences in India and internationally,
and it is expected that students take international internships or
shows during the summer break.


Centre for Experimental Media Arts [Bangalore, India]
http://cema.srishti.ac.in/


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_______________________________________________
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Yasmin_announcements@estia.media.uoa.gr
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[Yasmin_announcements] [ l'ull cec ] contrueix el teu propi sintetitzador / construye tu propio sintetizador / synth DIY workshop

[ reenvieu a discreció | reenviad a discreción | forward at own discretion ]

hola a tot(e)s,

a continuació us informem sobre el proper taller que hem organitzat.

a continuación os informamos sobre el próximo taller que hemos
organitzado.

below you will find information about a coming workshop we have
organized.

---------------------------------------------

........................ CONSTRUEIX EL TEU PROPI SINTETITZADOR
........................ CONSTRUYE TU PROPIO UN SINTETIZADOR
........................ BUILD YOUR OWN SYNTH

taller / workshop
a càrrec de / a cargo de / by tom bugs [http://bugbrand.co.uk ]

dissabte / sábado / saturday, 18.04.2009, 12:00 - 21:00 hrs.

hangar. passatge del marquès de santa isabel, 40
metro poble nou

preu / precio / price: 50 €

inscripcions / inscripciones / sign up: [ info@lullcec.org ]

+info: [ http://lullcec.org ]

---------------------------------------

Construeix el teu propi sintetitzador amb Tom Bugs

L'objectiu d'aquest taller és introduir als participants a conceptes
bàsics de la electrònica. No és necessari tenir experiència prèvia en
aquesta disciplina.

Els participants construiran un petit sintetitzador amb tres
oscil·ladors, una mescladora, un comparador, controls de saturació i
to, miniamplificador, 13 punts de contacte corporal i sortida de jack
per a connectar-lo a taules de mescles o amplificadors externs. També
conté un control per la reducció de corrent, modificació habitual en
la pràctica del circuit-bending, ja que acostuma a provocar resultats
inesperats en el circuit.

El preu de la matrícula inclou tots els components electrònics
necessaris perquè cada participant pugui construir un sintetitzador
que es podran emportar a casa un cop finalitzat el taller.

Estructura:

- Conceptes bàsics de l'electrònica
- Eines necessàries
- Com soldar
- Els components electrònics del circuit
- Construcció guiada del circuit
- Comprensió del funcionament del circuit
- Discussió i espai per experimentar i modificar el resultat amb l'instructor

organitza: l'ull cec
amb el suport de: hangar
col·labora: new interfaces for performance [ http://newinterfaces.net ]

---------------------------------------

El objectivo de este taller es introducir a los participantes a
conceptos básicos de la electrónica. No es necesario tener experiencia
previa en esta disciplina.

Los asistentes construirán un pequeño sintetizador
con tres osciladores, una mezcladora, un comparador, controles de
saturación y tono, miniamplificador, 13 puntos de contacto corporal y
salida de jack para conectarlo a mesas de mezcla o amplificadores
externos. El diseño del kit también incluye un control para la
reducción de corriente, modificación habitual en la práctica del
circuit-bending ya que acostumbra a provocar resultados inesperados en
circuito.

El precio de la matrícula incluye todos los componentes electrónicos
necesarios para que cada asistente pueda construir un sintetizador que
se podrá llevar a casa una vez finalizado el taller.

Estructura:

- Conceptos básicos de la electrónica
- Herramientas necesarias
- Cómo soldar
- Los componentes electrónicos del circuito
- Construcción guiada del circuito
- Comprensión del funcionamiento del circuito
- Discusión y espacio para experimentar y modificar el resultado con
el instructor

Tom Bugs [ http://www.bugbrand.co.uk ]

Después de haberse iniciado en el mundo de la electrónica a través de
la práctica del circuit-bending (modificación de circuitos de bajo
voltaje) y también construyendo pedales de efectos, en los últimos
años Tom Bugs ha creado una serie muy popular de generadores de sonido
que se pueden adquirir a través de su web. A parte de diseñar
instrumentos para músicos y dispositivos para instalaciones
interactivas, Tom también ha desarrollado un sistema modular para la
síntesis analógica del sonido.``

---------------------------------------

Build your own synth with Tom Bugs

The target of this workshop is to introduce participants to the
practice of electronics.``

Attendees will build a little synthesizer with three oscillators, a
mixer, a comparator, overdrive and tone controls, 13 body contacts, a
miniamplifier and a jack output to further connect it to external
mixers or amplifiers. The kit's design also includes a control for
power starvation, a common modification in the practice of
circuit-bending due to the fact that it tends to provoke unexpected
results in the circuit's output.

The registration price includes all the electronic components needed
in order for each participant to build his own synth and take it home
after the workshop.

Structure:

- Basic electronic concepts
- Tools required
- Soldering
- Electronic components
- Guided construction of the synth's circuit
- Workings & circuitry
- Discussion and time to experiment and modify the resulting synth
with the instructor

---------------------------------------

properament / próximamente / soon:

10.04.2009 ... concert de Tom Bugs amb sobretaula analògica a l'estudi
ozonokids [http://estudiozonokids.blogspot.com/ ]

18.04.2009 ... taller hardware/sintetitzadors DIY amb tom bugs
[http://bugbrand.co.uk/] a hangar

05.05.2009 ... MoHa [ http://www.myspace.com/themoha ]
a la sala monasterio

26.05.2009 ... Freida Abtan [ http://myspace.com/freidaabtan ]

---------------------------------------

per subscriure't o esborrar-te d'aquesta newsletter, escriu a:
para suscribirte o borrarte de la lista, escribe a:
to suscribe or unsusbscribe, please write to:

info@lullcec.org

_______________________________________________
Yasmin_announcements mailing list
Yasmin_announcements@estia.media.uoa.gr
http://estia.media.uoa.gr/mailman/listinfo/yasmin_announcements

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

HOW TO SUBSCRIBE: click on the link to the list you wish to subscribe to. In the page that will appear ("info page"), enter e-mail address, name, and password in the fields found further down the page.

HOW TO UNSUBSCRIBE: on the info page, scroll all the way down and enter your e-mail address in the last field. Enter password if asked. Click on the unsubscribe button on the page that will appear ("options page").

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

[Yasmin_announcements] Fw: [iota] Expanded Cinema Symposium at Tate Modern Apr 17 - 19

For interested Yasminers.

Best,
Veroniki

--- Στις Κυρ., 29/03/09, ο/η Rol Murrow <rol.murrow@wolf-aviation.org> έγραψε:

We've been advised that tickets are selling briskly, thus those
interested are advised to book sooner rather than later...

EXPANDED CINEMA:
ACTIVATING THE SPACE OF RECEPTION
17 - 19 April 2009
Tate Modern


Featuring lectures, discussions, performances, projections and
installations, this major international conference presents a
critical appraisal of an expanding field of film and video art
from multi-screen, immersive, performance- based live-projections
through to interactive, digital and virtual reality multi-media
events.

Coined in the mid-1960s by Stan VanDerBeek, but with its origins
in the experiments of early twentieth century avant-garde
filmmaking, media-technologies and performance art, the term
Expanded Cinema identifies a film and video practice which
activates the live context of watching, transforming cinema's
historical and cultural 'architectures of reception' into sites
of cinematic experience that are heterogeneous, performative and
non-determined. Works identified as Expanded Cinema often open up
questions surrounding the spectator's construction of time/space
relations, activating the spaces of cinema and narrative as well
as other contexts of media reception. In doing so it offers an
alternative and challenging perspective on filmmaking, visual
arts practices and the narratives of social space, everyday life
and cultural communication.

Speakers and artists include Mark Barlett, Eugeni Bonet, Cecile
Chich, Noam Elcott, Cate Elwes, Valie Export, Steve Farrer,
Sandra Gibson & Luis Recorder, Anja Gossens, Chrissie Iles, Cindy
Keefer, Ji-Hoon Kim, Liz Kotz, Tamara Krikorian, Mike Leggett,
Malcolm Le Grice, Anthony McCall, Chris Meigh-Andrews. Stephen
Partridge, William Raban, Lucy Reynolds, Lis Rhodes, Tony Sinden,
Yvonne Spielmann, Jonathan Walley, Chris Welsby, Duncan White,
Peter Weibel and Maxa Zoller.

The conference is part of an AHRC (Arts & Humanities Research
Council) funded project entitled Narrative Exploration in
Expanded Cinema set up by the late Dr Jackie Hatfield. Conducted
by Duncan White and David Curtis, the project - based at the
British Artists Film and Video Study Collection at Central St
Martins, College of Art & Design (University of the Arts London)
in collaboration with Duncan of Jordanstone College of Art &
Design, Dundee - seeks to explore the various histories of
expanded cinema and their impact on the question of narrative,
space and time in experimental film and art practices.

During the three days, there will be opportunities to visit
installations of three landmark British Expanded Cinema
installations:

Steve Farrer, The Machine, 1978-88
Tamara Krikorian, Time Revealing Truth 1983
Lis Rhodes, Light Music, 1975

Visits will be limited to 20 visitors each (admission with
conference ticket only), must be booked, and will last 40 minutes
each. Times for these visits will be:

Friday 17 April and Saturday 18 April at 18.15, 19.00 & 19.45,
and Sunday 19 April at 14.00, 14.45 & 15.30 & 16.15.

Also during the Conference, a videotheque will be available in
the Starr Auditorium Foyer containing documentation of over 70
classic expanded cinema works by more than 30 artists recorded at
two recent Expanded Cinema events in Germany, made available by
the artists and the Expanded Cinema Study Collection of Hartware
MedienKunstVerein Dortmund and Württembergischer Kunstverein
Stuttgart.

Prior to the Conference, during March, the Conference website
will begin to publish a number of papers and interview
transcripts that have been generated by the Narrative Exploration
in Expanded Cinema project during the past 18 months. These will
include Duncan White's interviews with Carolee Schneemann,
William Raban, Guy Sherwin, Peter Weibel, Malcolm LeGrice and
others; and a streamed record of a previous public event, The
Live Record, at BFI Southbank in December 2008.
www.studycollection .org.uk

Organised by Tate Modern and Central St Martins College of Art
and Design (UAL) with support from the Arts and Humanities
Research Council.

...

Friday 17 April 2009
(Starr Auditorium, Level 2)

10.30
What is Expanded Cinema?
Histories; definitions; distinctions

Chair Stuart Comer (Tate Modern)

10.40
Jonathan Walley (Denison University, Ohio)
'Not an Image of the Death of Film': Contemporary Expanded Cinema
and Experimental Film

11.10
Duncan White (Central St Martin's, University of the Arts,
London)
Narrative Exploration in Expanded Cinema

11.40
Mark Bartlett (independent scholar, Oakland, California)
Expanded Cinema, Social Imagistics, and the Fourth Avant-garde of
Stan Vanderbeek

12.10
questions

13.00
lunch

14.00
Topologies of Expanded Cinema
Social space, reception, phenomenology

Chair AL Rees (Royal College of Art, London)

14.10
Chrissie Iles (Whitney Museum of American Art, NY)
On Expanded Cinema and the Moving Image in the Gallery in the
1970s

14.40
Noam Elcott (Columbia University, NY)
Rooms of Our Times: László Moholy-Nagy and Cinema between Theatre
and Museum

15.10
questions

15.30
break

16.00
Cindy Keefer (Center for Visual Music, Los Angeles)
Raumlichtkunst to Vortex: Early Expanded Cinema Experiments of
Oskar Fischinger and Jordan Belson (1926-1959)

16.30
Cate Elwes (artist, Camberwell College, University of the Arts,
London)
The Domestic Spaces of Video Installation

17.00
Stephen Partridge (artist, University of Dundee)
in discussion with William Raban (artist, London College of
Communications, University of the Arts, London)

17.30
questions

18.00
reception

18.15, 19.00 & 19.45
installation viewings

...

Saturday 18 April 2009
(Starr Auditorium, Level 2)

10.20
Performance (ZZZBody)
discourse of the body; live film and video; presence; actions;
happenings

Chair Stephen Partridge (University of Dundee)

10.30
Liz Kotz (University of California, Riverside)
Projecting Cinema Otherwise, via Judson Dance

11.00
Lucy Reynolds (University of East London)
Magic Tricks? The Use of Shadow Play in British Expanded Cinema

11.20
Cecile Chich (independent scholar, Paris/London)
Beyond the Frame / Beyond the Gaze – The Multi-Media Projection
Performances of Maria Klonaris and Katerina Thomadaki

11.40
Maxa Zoller (independent scholar/curator, London/Berlin)
Polish Expanded Cinema: Technology and the Body

12.00
Mike Leggett (artist, University of Technology, Sydney)
Private Performance and Making Art with Video

12.20 questions

13.00
lunch

14.00
Media Environments and Expanded Cinema in the Digital Age
interactive narratives; the digital; virtual arts

Chair Professor Chris Meigh Andrews (University of Central
Lancashire)

14.10
Chris Welsby (artist, Simon Fraser University, Vancouver)
Expanded Cinema: 20th Century Encounters with the Machine

14.40 Eugeni Bonet (independent scholar, Barcelona)
PLAT (Picto-Luminic- Audio-Tactile) : The 'overflowing' cinema of
Val del Omar

15.00
Anja Gossens (ZKM, Karlsruhe)
Future Shock and Time/Energy objects – Expanded Cinema and the
Code in New York

15.20
break

15.50
Ji-Hoon Kim (NYU)
Interfacial Intermedia Art as Digitally Expanded Cinema:
iCinema's Transmedial Narrative Environments

16.10
Yvonne Spielmann (University of the West of Scotland)
Conceptual Synchronicity or Intermedial Encounters between Film,
Video and Computer

16.30
Malcolm Le Grice (artist, University of the Arts, London) in
discussion with Peter Weibel (artist, ZKM)

17.00
questions

18.00
reception

18.15, 19.00 & 19.45
installation viewings

...

Sunday 19 April 2009

(East Room, Level 7)

11.00
Tony Sinden (artist, UK/Greece) in dialogue with Anthony McCall
(artist, NY)

11.30
Valie Export (artist) in conversation with Chrissie Iles (Whitney
Museum of American Art, NY)

12.00
Open Forum - Chair Stuart Comer (Tate Modern)

13.00
lunch

14.00, 14.45 & 15.30 & 16.15
installation viewings

Free screenings
(Starr Auditorium, Level 2)

14.00
Shadow Play and Visual Music
--Tony Hill, Point Source (UK, 1973), performance
--From German Expanded Cinema Pioneers to Light Show Psychedelia,
programme curated by Cindy Keefer (Center for Visual Music, Los
Angeles)
featuring films by Jordan Belson, Charles Dockum, Oskar
Fischinger, Single Wing Turquoise Bird Light Show, and Jud
Yalkut.

15.30
Live Medium
--Stephen Partridge, Monitor (UK, 1975) performance
--Sandra Gibson + Luis Recoder, Untitled (US, 2008) performance;
electric humidifiers; glass and an original score by Olivia
Block.

17.00
UK Multiscreen
--David Dye, Western Reversal (UK, 1973), performance
--Annabel Nicolson, To the Dairy (UK, 1975)
--Malcolm Le Grice, Yes No Maybe Maybe Not (UK, 1967), two-screen

--Ron Haselden, Doityourselfportrai t (UK, 1974), two-screen
--Gill Eatherley & David Crosswaite, Dialogue (UK, 1974),
two-screen
--Tony Sinden, Can Can (UK, 1975), two-screen

...

Tate Modern Starr Auditorium
Bankside, London, SE1 9TG
Nearest Tube: Southwark / London Bridge

Tickets: £30 / £20 concessions
Box Office: 020 7887 8888
Advanced booking strongly recommended

www.tate.org. uk/modern/ film

http://www.studycol lection.org. uk/expanded
We've been advised that tickets are selling briskly, thus those
interested are advised to book sooner rather than later...

EXPANDED CINEMA:
ACTIVATING THE SPACE OF RECEPTION
17 - 19 April 2009
Tate Modern


Featuring lectures, discussions, performances, projections and
installations, this major international conference presents a
critical appraisal of an expanding field of film and video art
from multi-screen, immersive, performance- based live-projections
through to interactive, digital and virtual reality multi-media
events.

Coined in the mid-1960s by Stan VanDerBeek, but with its origins
in the experiments of early twentieth century avant-garde
filmmaking, media-technologies and performance art, the term
Expanded Cinema identifies a film and video practice which
activates the live context of watching, transforming cinema's
historical and cultural 'architectures of reception' into sites
of cinematic experience that are heterogeneous, performative and
non-determined. Works identified as Expanded Cinema often open up
questions surrounding the spectator's construction of time/space
relations, activating the spaces of cinema and narrative as well
as other contexts of media reception. In doing so it offers an
alternative and challenging perspective on filmmaking, visual
arts practices and the narratives of social space, everyday life
and cultural communication.

Speakers and artists include Mark Barlett, Eugeni Bonet, Cecile
Chich, Noam Elcott, Cate Elwes, Valie Export, Steve Farrer,
Sandra Gibson & Luis Recorder, Anja Gossens, Chrissie Iles, Cindy
Keefer, Ji-Hoon Kim, Liz Kotz, Tamara Krikorian, Mike Leggett,
Malcolm Le Grice, Anthony McCall, Chris Meigh-Andrews. Stephen
Partridge, William Raban, Lucy Reynolds, Lis Rhodes, Tony Sinden,
Yvonne Spielmann, Jonathan Walley, Chris Welsby, Duncan White,
Peter Weibel and Maxa Zoller.

The conference is part of an AHRC (Arts & Humanities Research
Council) funded project entitled Narrative Exploration in
Expanded Cinema set up by the late Dr Jackie Hatfield. Conducted
by Duncan White and David Curtis, the project - based at the
British Artists Film and Video Study Collection at Central St
Martins, College of Art & Design (University of the Arts London)
in collaboration with Duncan of Jordanstone College of Art &
Design, Dundee - seeks to explore the various histories of
expanded cinema and their impact on the question of narrative,
space and time in experimental film and art practices.

During the three days, there will be opportunities to visit
installations of three landmark British Expanded Cinema
installations:

Steve Farrer, The Machine, 1978-88
Tamara Krikorian, Time Revealing Truth 1983
Lis Rhodes, Light Music, 1975

Visits will be limited to 20 visitors each (admission with
conference ticket only), must be booked, and will last 40 minutes
each. Times for these visits will be:

Friday 17 April and Saturday 18 April at 18.15, 19.00 & 19.45,
and Sunday 19 April at 14.00, 14.45 & 15.30 & 16.15.

Also during the Conference, a videotheque will be available in
the Starr Auditorium Foyer containing documentation of over 70
classic expanded cinema works by more than 30 artists recorded at
two recent Expanded Cinema events in Germany, made available by
the artists and the Expanded Cinema Study Collection of Hartware
MedienKunstVerein Dortmund and Württembergischer Kunstverein
Stuttgart.

Prior to the Conference, during March, the Conference website
will begin to publish a number of papers and interview
transcripts that have been generated by the Narrative Exploration
in Expanded Cinema project during the past 18 months. These will
include Duncan White's interviews with Carolee Schneemann,
William Raban, Guy Sherwin, Peter Weibel, Malcolm LeGrice and
others; and a streamed record of a previous public event, The
Live Record, at BFI Southbank in December 2008.
www.studycollection .org.uk

Organised by Tate Modern and Central St Martins College of Art
and Design (UAL) with support from the Arts and Humanities
Research Council.

...

Friday 17 April 2009
(Starr Auditorium, Level 2)

10.30
What is Expanded Cinema?
Histories; definitions; distinctions

Chair Stuart Comer (Tate Modern)

10.40
Jonathan Walley (Denison University, Ohio)
'Not an Image of the Death of Film': Contemporary Expanded Cinema
and Experimental Film

11.10
Duncan White (Central St Martin's, University of the Arts,
London)
Narrative Exploration in Expanded Cinema

11.40
Mark Bartlett (independent scholar, Oakland, California)
Expanded Cinema, Social Imagistics, and the Fourth Avant-garde of
Stan Vanderbeek

12.10
questions

13.00
lunch

14.00
Topologies of Expanded Cinema
Social space, reception, phenomenology

Chair AL Rees (Royal College of Art, London)

14.10
Chrissie Iles (Whitney Museum of American Art, NY)
On Expanded Cinema and the Moving Image in the Gallery in the
1970s

14.40
Noam Elcott (Columbia University, NY)
Rooms of Our Times: László Moholy-Nagy and Cinema between Theatre
and Museum

15.10
questions

15.30
break

16.00
Cindy Keefer (Center for Visual Music, Los Angeles)
Raumlichtkunst to Vortex: Early Expanded Cinema Experiments of
Oskar Fischinger and Jordan Belson (1926-1959)

16.30
Cate Elwes (artist, Camberwell College, University of the Arts,
London)
The Domestic Spaces of Video Installation

17.00
Stephen Partridge (artist, University of Dundee)
in discussion with William Raban (artist, London College of
Communications, University of the Arts, London)

17.30
questions

18.00
reception

18.15, 19.00 & 19.45
installation viewings

...

Saturday 18 April 2009
(Starr Auditorium, Level 2)

10.20
Performance (ZZZBody)
discourse of the body; live film and video; presence; actions;
happenings

Chair Stephen Partridge (University of Dundee)

10.30
Liz Kotz (University of California, Riverside)
Projecting Cinema Otherwise, via Judson Dance

11.00
Lucy Reynolds (University of East London)
Magic Tricks? The Use of Shadow Play in British Expanded Cinema

11.20
Cecile Chich (independent scholar, Paris/London)
Beyond the Frame / Beyond the Gaze – The Multi-Media Projection
Performances of Maria Klonaris and Katerina Thomadaki

11.40
Maxa Zoller (independent scholar/curator, London/Berlin)
Polish Expanded Cinema: Technology and the Body

12.00
Mike Leggett (artist, University of Technology, Sydney)
Private Performance and Making Art with Video

12.20 questions

13.00
lunch

14.00
Media Environments and Expanded Cinema in the Digital Age
interactive narratives; the digital; virtual arts

Chair Professor Chris Meigh Andrews (University of Central
Lancashire)

14.10
Chris Welsby (artist, Simon Fraser University, Vancouver)
Expanded Cinema: 20th Century Encounters with the Machine

14.40 Eugeni Bonet (independent scholar, Barcelona)
PLAT (Picto-Luminic- Audio-Tactile) : The 'overflowing' cinema of
Val del Omar

15.00
Anja Gossens (ZKM, Karlsruhe)
Future Shock and Time/Energy objects – Expanded Cinema and the
Code in New York

15.20
break

15.50
Ji-Hoon Kim (NYU)
Interfacial Intermedia Art as Digitally Expanded Cinema:
iCinema's Transmedial Narrative Environments

16.10
Yvonne Spielmann (University of the West of Scotland)
Conceptual Synchronicity or Intermedial Encounters between Film,
Video and Computer

16.30
Malcolm Le Grice (artist, University of the Arts, London) in
discussion with Peter Weibel (artist, ZKM)

17.00
questions

18.00
reception

18.15, 19.00 & 19.45
installation viewings

...

Sunday 19 April 2009

(East Room, Level 7)

11.00
Tony Sinden (artist, UK/Greece) in dialogue with Anthony McCall
(artist, NY)

11.30
Valie Export (artist) in conversation with Chrissie Iles (Whitney
Museum of American Art, NY)

12.00
Open Forum - Chair Stuart Comer (Tate Modern)

13.00
lunch

14.00, 14.45 & 15.30 & 16.15
installation viewings

Free screenings
(Starr Auditorium, Level 2)

14.00
Shadow Play and Visual Music
--Tony Hill, Point Source (UK, 1973), performance
--From German Expanded Cinema Pioneers to Light Show Psychedelia,
programme curated by Cindy Keefer (Center for Visual Music, Los
Angeles)
featuring films by Jordan Belson, Charles Dockum, Oskar
Fischinger, Single Wing Turquoise Bird Light Show, and Jud
Yalkut.

15.30
Live Medium
--Stephen Partridge, Monitor (UK, 1975) performance
--Sandra Gibson + Luis Recoder, Untitled (US, 2008) performance;
electric humidifiers; glass and an original score by Olivia
Block.

17.00
UK Multiscreen
--David Dye, Western Reversal (UK, 1973), performance
--Annabel Nicolson, To the Dairy (UK, 1975)
--Malcolm Le Grice, Yes No Maybe Maybe Not (UK, 1967), two-screen

--Ron Haselden, Doityourselfportrai t (UK, 1974), two-screen
--Gill Eatherley & David Crosswaite, Dialogue (UK, 1974),
two-screen
--Tony Sinden, Can Can (UK, 1975), two-screen

...

Tate Modern Starr Auditorium
Bankside, London, SE1 9TG
Nearest Tube: Southwark / London Bridge

Tickets: £30 / £20 concessions
Box Office: 020 7887 8888
Advanced booking strongly recommended

www.tate.org.uk/modern/film

http://www.studycol lection.org. uk/expanded



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

HOW TO SUBSCRIBE: click on the link to the list you wish to subscribe to. In the page that will appear ("info page"), enter e-mail address, name, and password in the fields found further down the page.

HOW TO UNSUBSCRIBE: on the info page, scroll all the way down and enter your e-mail address in the last field. Enter password if asked. Click on the unsubscribe button on the page that will appear ("options page").

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