transacciones/Fada’iat

Transacciones nació en el marco de UNIA arteypensamiento como proyecto en proceso (de algún modo iniciado con Almadraba, un proyecto multidisciplinar en las orillas del Estrecho de Gibraltar, 1997, producido por Carta de Ajuste/BNV y Carta Blanca) con la idea de trabajar con diferentes narrativas que se están produciendo en el marco geopolítico del Estrecho, concretamente las generadas por la oposición al cable de alta tensión de interconexión España-Marruecos, conocida como la guerra del cable; por el movimiento vecinal a favor de la planificación eólica; y por la inmigración a través de la frontera sur de Europa. Y abordarlas tanto desde las prácticas artísticas como desde el trabajo de los movimientos sociales y el activismo, con la idea de construir conexiones y vínculos, además de difuminar fronteras y categorías genéricas por medio de una determinada práctica de producción errática que colabore a la construcción de tramas de datos y redes a partir de fragmentos tan diversos como afines, que permitan multiplicar trayectos y reconfigurar experiencias, así como la creación de espacios y discursos críticos de encuentro e intercambio.

Curate or Die_at KW, Berlin

CURATE OR DIE
THE FUTURE OF CURATING

Series of discussions at KW Institute for Contemporary Art in Berlin

Together with the Bureau des Arts Plastiques Berlin, KW starts a series of discussions with the title CURATE OR DIE. The first discussion takes place on October 29, 2007.
The focus of classical museum work seems to have changed in the past fifteen years. The balance of exhibiting, collecting, researching, and conserving activities has shifted towards a marked concentration on exhibiting. Both the public eye and possible sponsors tend to privilege the spectacular potential inherent in exhibitions. In collaboration with the Berlin-based Bureau des Arts Plastiques, KW Institute for Contemporary Art is planning a series of panel debates addressing these and related questions. Curate or Die seems to be the only possible future perspective.

White Plane_Alex Bradley+Charlie Poulet

First seen at Baltic gallery, Whiteplane2 is a unsettling, beautiful sound installation incorporating a new live performance created for the ICA. Alex Bradley and Charles Poulet use ambisonic techniques – immersive sound – to inhabit the very fabric of the building, inviting the audience to rethink their ideas of perspective, light and depth. Bradley and Poulet will write a score which will fully integrate with the ICA theatre, and which will be augmented by live improvisation at a different tempo to the main score, creating what the artists call a “rhythm of position”. The audience will be free to wander around Whiteplane2, a space that moves from the familiar to the unfamiliar through sonic illusion, provoking a feeling of subtle dislocation. Co-produced by Alex Bradley and Helen Cole. Commissioned by Arnolfini in association with amino and Baltic. Ambisonic Development and software by Raj Patel and Alban Bassuet, Arup Acoustics. Supported by Contemporary Music Network. Funded by Arts Council England.

more information found at mediatipos

Space Junk Spotting_Saso Sedlacek

In the more than fifty years that have passed since the conquest of space began, we have succeeded in filling orbits around the earth with surplus satellites, rocket waste, and other debris. We can view this space junk as archeology in the making or, indeed, as a garbage dump in a class of its own.

Light-Space-Modulator

 Moholy-Nagy

This piece of lighting equipment is a device used for demonstrating both plays of light and manifestations of movement. The model consists of a cube-like body or box, 120 x 120 cm in size, with a circular opening (stage opening) at its front side. On the back of the panel, mounted around the opening are a number of yellow, green, blue, rot, and white-toned electric bulbs (approximately 70 illuminating bulbs of 15 watts each, and 5 headlamps of 100 watts). Located inside the body, parallel to its front side, is a second panel; this panel too, bears a circular opening about which are mounted electric lightbulbs of different colors. In accordance with a predetermined plan, individual bulbs glow at different points.

LiveForm Telekinetics_M Teran and J Mann

Digital networks extend communication across distance and time. How might they influence the forms of our daily social interaction? Sharing a meal, a walk in the park, making music, sports or games – these are the kind of social activities and rituals we use to build meaningful relationships. But the typewriter keyboard and computer screen are artifacts of a business machine that seem out of place here. What if the interface allowed for body language, gesture, and physicality? What if you could go out for dinner and dancing with friends, even though you’re a thousand kilometers away?

mirrorSpace_HeHe

A set of telepresent mirrors placed in different locations that will capture who ever is in front of the mirrors and superimpose the live streamed video onto them, so that all the portraits can merge in the same space.

Physical proximity to other people is a form of non-verbal communication that we all employ everyday, although we are barely aware of it. Yet, existing systems for video-mediated communication fail to fully take into accountthese proxemics aspects of communication. In this note, we present MirrorSpace, a video communication system that uses proximity as an interface to providesmooth transitions between peripheral awareness and very close and intimateforms of communication.[the paper here]

also information found at neural

As we may think_Vannevar Bush

As Director of the Office of Scientific Research and Development, Dr. Vannevar Bush has coordinated the activities of some six thousand leading American scientists in the application of science to warfare. In this significant article he holds up an incentive for scientists when the fighting has ceased. He urges that men of science should then turn to the massive task of making more accessible our bewildering store of knowledge. For years inventions have extended man’s physical powers rather than the powers of his mind. Trip hammers that multiply the fists, microscopes that sharpen the eye, and engines of destruction and detection are new results, but not the end results, of modern science. Now, says Dr. Bush, instruments are at hand which, if properly developed, will give man access to and command over the inherited knowledge of the ages. The perfection of these pacific instruments should be the first objective of our scientists as they emerge from their war work. Like Emerson’s famous address of 1837 on “The American Scholar,” this paper by Dr. Bush calls for a new relationship between thinking man and the sum of our knowledge. —THE EDITOR (The Atlantic, July 1945)

This has not been a scientist’s war; it has been a war in which all have had a part. The scientists, burying their old professional competition in the demand of a common cause, have shared greatly and learned much. It has been exhilarating to work in effective partnership. Now, for many, this appears to be approaching an end. What are the scientists to do next?

For the biologists, and particularly for the medical scientists, there can be little indecision, for their war has hardly required them to leave the old paths. Many indeed have been able to carry on their war research in their familiar peacetime laboratories. Their objectives remain much the same.

Y0UNG-HAE CHANG HEAVY INDUSTRIES PRESENTS…

Any of the works of this people worths hours of exploration with the certain reward of deep inspiration..

Their latest commision is in show in the New Museum, where the work for first time in a seven-channel installation.

YOUNG-HAE CHANG HEAVY INDUSTRIES (YHCHI) is a two-artist collective based in Seoul, South Korea. Using Flash animation techniques, they create fast-moving, text-based artworks that are synchronized with original scores. Using a seemingly simple format—texts on monochromatic backgrounds—YHCHI weaves complex and evocative narratives. Invoking the genre of film noir, and the hard-boiled literary styles of Raymond Chandler and Phillip K. Dick, YHCHI’s imaginative, witty and often politically pointed narratives offer layered and compelling stories in which identities are assumed and discarded, and ideologies of all persuasions are held up and questioned.

YOUNG-HAE CHANG HEAVY INDUSTRIES was featured in the 2007 Istanbul Biennial, the 2006 Sao Paulo Biennial, at the Tate Gallery in London, and the Moderna Museet in Stockholm. Their work has appeared on numerous Web sites including centrepompidou.fr, tate.org.uk and rhizome.org.

http://www.yhchang.com

Desire of Codes_Seiko Mikami