backup is a festival for film and video productions developed using digital tools, and also a stock-taking within the realm of 'new media'. backup began in the European Cultural Capital Year of Weimar that was celebrated in 1999, and with its 2001 edition, backup has reached a level that secures it a respectable place among the European festivals.
via mailing @ djspooky.com
It's a pretty well known fact that I'm a big fan of the philosophers, Deleuze and Guattari. I wanted to send this out to the list 'cause I hope it can inspire some of you to check out their work. Further info on both of them can be found at Wikipedia (amongst many other sources - but I like Wiki).
Gilles Deleuze:
http://en.wikipedia.org/wiki/Gilles_Deleuze
Pierre Felix Guattari
http://en.wikipedia.org/wiki/Félix_Guattari
The following is an interview with Carlo Simula for his book MILLESUONI. OMAGGIO A DELEUZE E GUATTARI (Cronopio Edizioni)
Contributions will include Guy-Marc Hinant (Sub Rosa), Philippe Franck (transcultures, le maubege), Bernhard Lang, Tim Murphy, Achim Szepanski - and many others. I think it's an update on some issues that have been percolating.
Smell the brew.
Paul D. Miller a.k.a. DJ Spooky that Subliminal Kid
Tunis, Tunisia 11/20/05
1) You've often referred in your interviews to how much contemporary philosophy has influenced your work. Foucault said "Un jour, peut-être, le siècle sera deleuzien", how much and in which way Deleuze and Guattari influenced you? And what you feel is interesting in their work?
The idea of the "remix" is pretty trendy these days - as usual people tend to "script" over the multi-cultural links: the economics of "re-purposing," "outsourcing" and above all, of living in an "experience economy" - these are things that fuel African American culture, and it's active dissemination in all of the diaspora of Afro-Modernity. My take on Deleuze and Guattari is to apply a "logic of the particular" to the concept of contemporary art. Basically it's to say that software has undermined all of the categories of previous production models, and in turn, molded the "computational models" of how "cultural capital," as Pierre Bourdieu coined it, mirrors various kinds of production models in a world where "sampling" (mathematical and musical), has become the global language of urban youth culture. Eduoard Glissant, the Afro-Caribbean philosopher/linguist liked to call this "creolization" - I like to call it "the remix." Philosophy is basically a reflective activity. It always requires a surface to bounce off of. We don't exist in a cultural vacuum.
Basically I look at Deleuze/Guattari as two figures who act as translators of European philosophy and aesthetics into some kind of exit for people who are concerned with humanism. Think: Frantz Fanon wrote about this as a kind of update on Existentialism - the "gaze" that defines the world today is "brown" - but it is contained in a strange cadence. It's a visual rhythm that extended the idea of philosophy into spectrums that have yet to be mapped out. European philosophy has usually been totally eurocentric for the last several centuries, and Deleuze and Guattari are the two philosophers who have taken the idea of philosophy past the limits of previous thinkers. Aristotle created the idea of taxonomy for the West several thousand years ago. Deleuze and Guattari have taught us to move beyond the categories he defined, and have helped create tools for analyzing how complex out mediated lives have become. I think of their concepts like the "Abstract machine," the "body without organs," and the "immanent plane" of action/realization as almost beyond the categories of European philosophy. They are humanists who look for meaning beyond the norms. That's where my music and their thoughts intersect.
Essentially, for me, music is a metaphor, a tool for reflection. We need to think of music as information, not simply as rhythms, but as codes for aesthetic translation between blurred categories that have slowly become more and more obsolete. For me, the Dj metaphor is about thinking around the concept of collage and its place in the everyday world of information, computational modelling, and conceptual art. All of them offer exits from the tired realms of Euro-centric philosophy into some kind of pan humanism. That's why I like Deleuze and Guattari's work. Other figures from the European aesthetic realm like Ludwig Feuerbach (who promoted the idea of "humanism" in his works of the mid 19th century), Spinoza, and Giordano Bruno's exploration of Semiotics are also influences, but the basic sense of "rhizomatic" thought - thinking in meshworks, in nets that extend to other nets - it's the driving force of my music and art. I think it's a great place to start thinking about a philosophy of "the remix." The "remix" is about certain kinds of polyphony - it's about making multiple rhythms work together, synchronized, cut, pasted, and collaged. That's the real "abstract machine" - cross reference that with James Brown, think Garrett A. Morgan (the African American inventor of the street light - the choreography on every street corner of the global megalopolis), think Duke Ellington with his "Afro-Eurasian Eclipse" jazz modernity, think Albert Murray's essay "Spyglass Tree", think Detroit's underground forerunners, stuff like Drexciya... the list goes on. etc etc
2) I see many analogies between your work and Deleuze and Guattari's, especially when they talk about the "concept" as a way to define the world, defining it as an "event." The production of a concept is therefore the way philosophy builds the understanding of the real world. It seems to me that in Rhythm Science you talk a lot about sampling and the figure of the DJ as a manipulator of images, sounds, technologies used to create, exactly, "concepts." What do you think about it?
One of my favorite books of the last several years, African Philosophy: An Anthology edited by Emmanuel Chukwudi Eze, explores this kind of thing: how do we re-map the scripted territories of Eurocentric thought to create new tools, new ways of thinking about the multi-plex scenario any idealist will find at the end of any investigation of philosophy in the 21st century. For Deleuze and Guattari, and for me, the idea is always an "event" - it presupposes a kind of frame of reference that closes one action and starts another - they overlap and blur. For me "sampling" is the same thing: thought event, sound event. Computers generate algorithms that create tableaux of continuous uncertainty - the screen is not a locked space. My work asks about how the networks of creativity that we have inherited from the "bricks and mortar" world of the 20th century, have imploded, evolved and accelerated the "im-material" networks of the frequencies, fiber optic networks, and mathematically driven world of the 21st century. That's the real "dematerialization of the art object" - it becomes patterns meshed, working between the spaces of pre-scripted behavior. My book Rhythm Science looked at foundations of contemporary thinking from the viewpoint of "how do we make art out of patterns of culture?" It was meant to ask more questions, not offer answers to contexts that are continually changing. The landscape of contemporary digital media is undefined. Anything that tells you it is "defined" is pretty much making a false observation. The undefined defined? Heraclitus said something like this years ago - dj culture tells us it has become the way we organize information in a media ecology of unstable subjectivity. My take on this is basically "pro-active" - for me, music is all about creating tools for thinking - about giving people systems to organize information outside of the European categories of "rationality" and "universal subjectivity" that drove the Enlightenment. That is what I learned from them. Abstraction is the ultimate weapon. Multiculturalism is the ultimate destabilizing category because, like sampling, it can absorb anything. It defies limits, and posits "the subject" as an imploded category - one that is, and always has been, basically a construct. What other constructs - the nation state, the idea of the "self" etc - are linked to this category that is slowly being pulled apart by the centrifugal forces of digital media? Deleuze and Guattari give us tools to think about this kind of stuff - they posit these as fictions holding together other fictions. The mirror is held up to another mirror, and we can see an infinite corridor in either direction. I kind of want to break the mirror. Warhol's "From A to B and Back Again" drifted as word dust through the fiber optic cables and satellite transmissions of a world of invisible meshworks. Stuff like that.
3) Among other things the cd inside the book Rhythm Science is a concentrated "improvisation" of the Subrosa archive, a label which more than others promoted a certain genre of music connected to art.. It reminded me, with the proper differences, John Oswald's "Greyfolded", where he ends up building a version of Grateful Dead's "Dark Star" from hundreds of live versions. Thoughts?
The "fold" is about involution - it's about taking multiple perspectives on an event - just like the "break" in hip-hop, it's the break beat, the broken fragment of time recorded on the sample that gives the "flow" of discourse its meaning in this context. In dj culture, you create structure from sequences. My style is the sound track to urban sprawl. It's my way to look at compositional strategy in the era of digital media. My favorite photographer, Etienne Jules Maret's "stop motion photography" alludes to this kind of thing. The fragment is greater than the interpretation of Deleuze and Guattari was about, and if you look at John Cage's idea of "indeterminancy" and it's relationship to turntables - the concept fits solidly. Composers have been using the "fold" for many centuries - the main issue is that they haven't had the tools to describe the process. D&G gave us those tools - I guess I look more to stuff like Grand Master Flash's "Adventures on the Wheels of Steel," Steinski and Double D's "Hip-hop Lessons" than John Oswald, but we're both driven by the same concept. The idea of collage drives my mixes - that's the point. Contemporary art - art that explores the economies of scale that software allows us to explore - points to the idea of the "input-output" schemata that Delueze and Guattari talked about with their concept of the body without organs. I think it's a good analogy. I really want to set music up as a platform - I want to make sure to remind people, that yes, I'm an artist... It's really weird how much people are set against the idea of existing in multiple contexts. Mono-reality... something like that. It's boring. Again, the D & G connection about multiple situations occurring simultaneously - reflects the "post post modern" scenario - it's not about "deconstruction," but reconstruction - of building a new vision of how we can live and think in the info ecology we've built for ourselves. And so on, and so on, and so on...
4) I find very interesting that in "Cinema 1-Movement and image" Deleuze talks about D.W.Griffith cinema, referring to image-action (the example he refers to in particular is "Intolerance"), and Griffith's articulation of the narration, that offers two examples of "civilization": (black people/white people). It almost seemed to me that your remix of "Birth of a nation", especially when played live, originates, with the obvious differences, from Deleuze's same critical ground... your opinion on that..
Civilization, as Freud pointed out so long ago, is about rules and boundaries but it also inspires a kind of continuous renewal. At heart, civilizations are control mechanisms - they're psychological more than they're physical. They are meta-tools. For me, at the moment, it seems like the West is in a serious crisis of meaning. The Enlightenment went dark in the mass mechanized warfare of the two world wars, and the shattered remains were burned in the fire of Vietnam. Pretty much nothing remains. My music asks: how do we create new forms of meaning from these hollow ideals? We've moved far past Plato's Republic into a realm where the "civic" aspects of culture as software are the new frames of reference. Software (credit card debt, individual assigned names on line, domain names, DNS routers, encryption, computer aided design that builds airplanes, routes electricity, guides DNA analysis etc etc there's alot more but you get the point) regulates individual behavior - both on and off line - in the post industrialized world. Software for thinking: it's an invisibly coercive concept. I like Deleuze's take on "Intolerance" but you have to remember that film acts as a crucial myth device for a world based on the consumption of images. I think that we need to analyze film from the viewpoint of not only what the Situationists called "psycho-geography" - a place that posits movement between radically different environments as a causal principle in the way that we organize information, but what Deleuze and Guattari posit as "deterritorialization" is essentially a kind of nomadic response to media overload - finding ways through the information data-cloud. Griffith was essentially a propagandist for state repression - he created "cut-up" cinema as a tool to portray multiple situations - but exactly for the opposite of what Deleuze and Guattari would think about. He used it to lock down perception. They use it to open things up. Juxtapose the two, and you can see why two radically different thinkers like Sergei Eisenstein and Guy Debord liked to think of Griffith as the essence of American cinema. That's the dj situation - origin, and destination blur: they become loops, cycles, patterns. The way to explore them is through the filter of woven meaning. Black culture has been the world's "subconscious" for most of the last several centuries - it has been the operating system of a culture that refuses to realize that its ideals have died long ago. The threads of the fabric of contemporary 21st century culture, the media landscape of filaments, systems, fiber optic cables, satellite transmissions, and so on - these are all rhizomatic. They are relational architectures - the move in synchronization. The meshwork needs to be polyphonic. The gears move in different cadences, but they create movement. They need to be pulled apart so that we can break the loops holding the past and present together so that the future can leak through. Perhaps this is where we break with the old situation of "black" "white" - that stuff is really dumb any way. It's all a lot more complex than that dualism. This is the new "operating system" I envisage when I remixed "Birth of a Nation" - the collapse of Wagner, the collapse of the Western scripts of linear progress, the renewal of a world where repetition is a kind of homage to the future by respecting the past.
Show #14: NeoFiles Public Forum: Rant & Rave
The panel topic was Dance Culture Past, Present & Future when Michael Gosney, Mark Ameba, DAX, and lux d’coda joined RU Sirius for this live NeoFiles presentation at the Mill Valley Community Center
This rich collection is far more than an important work of criticism by an extraordinary poet; it is a poetic intervention into criticism. "Artifice of Absorption," a key essay, is written in verse, and its structures and rhythms initiate the reader into the strength and complexity of the argument. In a wild variety of topics, polemic, and styles, Bernstein surveys the current poetry scene and addresses many of the hot issues of poststructuralist literary theory. "Poetics is the continuation of poetry by other means," he writes. What role should poetics play in contemporary culture? Bernstein finds the answer in dissent, not merely in argument but in form-a poetic language that resists being easily absorbed into the conventions of our culture.
Insisting on the vital need for radical innovation, Bernstein traces the traditions of modern poetry back to Stein and Wilde, taking issue with those critics who see in the "postmodern" a loss of political and aesthetic relevance. Sometimes playful, often hortatory, always intense, he joins in the debate on cultural diversity and the definition of modernism. We encounter Swinburne and Morris as surprising precursors, along with considerations of Wittgenstein, Khlebnikov, Adorno, Jameson, and Pac-Man. A Poetics is both criticism and poetry, both tract and song, with no dull moments.
SOUNDplay is a meeting point for experimentation in new media and sound art, SOUNDplay pushes the boundaries and encourages new fusions of image, sound and text.
O Overmundo surge do convite feito pela Petrobras ao núcleo de idéias Movimento* para atacar de frente um grave problema do atual cenário cultural brasileiro: a produção é cada vez maior, mas só uma mínima parcela do que é produzido consegue ser divulgada ou distribuída para o público. Aproveitando todas as possibilidades colaborativas da internet, o Overmundo vai propor uma nova forma de gerar conhecimento sobre as múltiplas vertentes de nossa cultura contemporânea, na qual imprensa e sociedade se relacionarão em novo modelo.
Nenhuma equipe de jornalistas, não importa seu tamanho ou competência, consegue cobrir ou filtrar a quantidade cada vez maior de coisas importantes que acontecem pelo país. Por outro lado, vitoriosos projetos online, como a multiplicação dos blogs e da Wikipedia, sugerem um outro caminho para lidar com esse acúmulo cada vez maior de informação cultural, com cada vez maior descentralização editorial. Seguindo esses exemplos, lançamos o desafio: todo cidadão brasileiro pode aqui contribuir para promover todos os aspectos da nossa produção cultural que lhe interessem. O Overmundo, por uma questão de princípios, não funcionará sem a colaboração de muita gente. Quanto mais, melhor.
*Movimento é Hermano Vianna, Alexandre Youssef, José Marcelo Zacchi e Ronaldo Lemos.
The Future of Music Coalition is a not-for-profit collaboration between members of the music, technology, public policy and intellectual property law communities. The FMC seeks to educate the media, policymakers, and the public about music / technology issues, while also bringing together diverse voices in an effort to come up with creative solutions to some of the challenges in this space. The FMC also aims to identify and promote innovative business models that will help musicians and citizens to benefit from new technologies.
Cultural Memory is a concept introduced to the archaeological disciplines by Jan Assmann . Assmann defines cultural memory as the "outer dimension of human memory", embracing two different concepts: "memory culture" (Erinnerungskultur) and "reference to the past" (Vergangenheitsbezug). Memory culture is the way a society ensures cultural continuity by preserving, with the help of cultural mnemonics, its collective knowledge from one generation to the next, rendering it possible for later generations to reconstruct their cultural identity. References to the past, on the other hand, reassure the members of a society of their collective identity and supply them with an awareness of their unity and singularity in time and space—i.e. an historical consciousness—by creating a shared past. These two concepts may or may not coincide.
O senador Delcídio Amaral (PT-MS) é criador de um projeto de lei ridículo que cria um cadastro de usuários de Internet e o armazenamento de e-mails por até dez anos para ajudar na investigação de crimes. A Abranet (Associação Brasileira de Provedores de Acesso de Serviços e Informações da Rede de Internet) está disposta a colaborar - ou seja, entregar suas comunicações para o governo. O Comitê Gestor da Internet do Brasil também é a favor do projeto.
A Discoteca Pública tem como objetivo o resgate da Música Popular Brasileira através dos antigos discos de vinil.
Imagine that the last 30 years of cinematographic and TV history and the last 100 years of recorded music are at your fingertips, imagine that you're a DJ with a fixation on cut and paste with a comedy touch, imagine that you've already worked on projects that fuse your love of movies and TV with cut and paste and (so may say bad) humour... and now imagine that someone creates a device that allows you to manipulate not only the audio but also the visual aspect of all this material, something not easily possible until now... lastly imagine your name is DJ Yoda and you've just got your hands on Pioneer's new DVJ deck which allows to cut up DVDs with the same ease you've been cutting CDs or vinyl.
You may think that the objective of the Visco project just a tiny bit ambitious.
Its ultimate aim is no less than to collect and make available over the Internet a cover image of every science fiction, fantasy, weird and horror magazine ever published in the English language.
David Berlind fala sobre o casamento do protocolo de assinatura RSS com a programação de TV disponível na rede, que cria um cenário capaz de eliminar o que hoje conhecemos como distribuição de programação televisiva através de canais. E demonstra também como setores da indústrias estão se mobilizando para impedir esta evolução natural da rede.
numia started as a project to support netlabel culture by highlighting the key artists in the industry and providing tools for netlabels to better promote their releases and market their musicians. we are highly interested in the concept of netlabel theory and are concentrating efforts to develop the netlabel model into the mainstream.
Miga is a colective formed in 2004, stablished in Granada, and its purpose is to show on the net the more advanced proposals from the actual south of Europe scene.
Any kind of artistic performance is inside Miga. Dj´s, Vj´s, Live Acts, net art, graphic design, experimental video and all electroacoustic media is part of it, coming together to develop, feed & expand different ideas and projects.
Welcome to the Netlabel Catalogue. The Catalog is a list, index, directory of music labels which offer you free downloads from their pages. There is no strict name for such labels. Some people call their netlabel also mp3 label (mp3label), online label (onlinelabel), web label (weblabel), internet label or even netaudio label... But all of them have the same idea in common: to spread good music via the world wide web for free.
Archipel is a collective of musicians and designers in question to unite their skills in achieving new creative projects. As a label, Archipel release music on CD, 12" and mp3, with songs made from a collective library of sounds. By forcing musicians to think again of their own music production routine, we hope to see emerge music with it's own identity
Epsilonlab is a Montreal-based audio-visual label dedicated to promotion of innovative electronic music and digital art. Releases include CDs, DVDs and a constantly-evolving repertoire of downloadable audio-visual files. Epsilonlab is particularly known for integrating music with visuals during live performances and on DVD.
Founded in December of 2000, Epsilonlab was initially a collective of musicians, VJs, designers and contemporary dancers devoted to live audio-visual experiments in immersive environments. The collective’s “Group Therapies” became something of a legend in the Montreal scene and helped establish a vibrant community of like-minded VJs and electronic music producers.
An increasingly globalized world became even smaller on Thursday when Carnegie Mellon University and German scientists unveiled technology that makes it possible to speak one language, yet be understood in another.
µTorrent is an efficient and feature rich BitTorrent client for Windows sporting a very small footprint. It was designed to use as little cpu, memory and space as possible while offering all the functionality expected from advanced clients.
FreeCulture.org is a diverse, non-partisan group of students and young people who are working to get their peers involved in the free culture movement. Launched in April 2004 at Swarthmore College, FreeCulture.org has helped establish student groups at colleges and universities across the United States. Today, FreeCulture.org chapters exist at nine colleges, from Maine to California, with many more getting started around the world.
Specifics of the upcoming tool are scarce, but a Yahoo manager says the company is looking to make the whole production process easier, including posting video.
This ground-breaking new book and the exhibition it accompanies trace the history of a revolutionary idea: that fine art should attain the abstract purity of music. Over the past one hundred years some of the most adventurous modern and contemporary artists have explored unorthodox means to invent a kinetic, non-representational art modeled upon pure instrumental music.
Music has inspired some of the most progressive art of our time—from the abstract painting of Wassily Kandinsky and Frantisek Kupka to the mid-century experimental films of Oskar Fischinger and Harry Smith to contemporary installations by Jennifer Steinkamp and Jim Hodges. While early abstract paintings tended to approach music metonymically, the color organs, films, light shows, and installations from the mid-twentieth century to the present day engage a range of perceptual faculties simultaneously to create a plethora of sensations in the viewer.
The most complete examination of this phenomenon to date, Visual Music features ninety major works of art plus related documentation, focusing on abstract and mixed-media art and the connections to musical forms as varied as classical, jazz, and electronic. The book includes three scholarly essays, each discussing a distinct art historical period in depth, and an additional essay by Olivia Mattis that approaches the subject from a musicologist's perspective, as well as a chronology, artist biographies, and a selected bibliography.
A discussion has sprang up on dubstep’s forum suggesting that the scene’s been in a bit of a lull recently, something which I agree with to a certain extent. Personally I’ve been a bit bored of hearing the same tunes over and over again but I guess that's a lot to do with the fact that I’ve spent so much time within the scene this year. From an international point of view however, things couldn't be better. The forum is chokka with heads from all over the world talking about the scene, and there are new nights springing all around our spinning globe
e-Performance and Plug-ins
A Mediatised Performance Conference
01 and 02 December 2005
The School of Media, Film & Theatre, University of New South Wales, Australia
The hybrid phenomena created by new media performance-makers traverse a range of academic disciplines and approaches from philosophical enquiry into the ontology of liveness to the very technical and logistical questions of performance in a mediatised environment under diverse conditions of actualisation.
Some performance theorists have questioned the notion of liveness by asking 'How is the liveness of the performance changed when it occurs within the spaces of technology?' Others have discussed the phenomenon of Internet use as 'performance on-line' and have used terms commonly found in new media discourses, such as 'posthuman', 'virtual bodies', 'embodiment' and 'telepresence'. Yet others draw upon Lacanian film theory in their analysis.
This international symposium will address cross- and multi-disciplinary investigations of issues around media/technology-based performance. Delegates will participate from interstate as well as overseas. Paralleling the diversity and range of artistic and theoretical approaches to media-based performance, conference contributors will present multi-modally, including live video interventions by speakers outside Australia, live performances, as well as presentations of scholarly papers and practice-led research. This event presents a unique opportunity for a wide range of media arts/performance practices to be discussed within an interdisciplinary environment.
Richard Rogers presents a profoundly different way of thinking about information in cyberspace, one that supports the political efforts of democratic activists and NGOs and takes seriously the epistemological issues at the heart of networked communications. His approach is light-years ahead of other research: Not only are the four political instruments he has developed for analyzing the Web innovative, but the set of theoretical assumptions underlying them breaks new ground. He rejects the tired and banal focus on fandom, porn, and aliens that took cyber-theory into a cultural and political wasteland. His Web is instead a serious, dynamic site of political struggle.
Cultures in Orbit is a welcome contribution to the study of converging media technologies that draws on too often distinct ideas in cultural studies, visual studies, technology studies, media studies, and studies in globalization. Lisa Parks offers a deft and nuanced analysis of satellite-television interdependency in diverse geopolitical sites, demonstrating with admirable lucidity how each constellation of imaging/viewing practices arises from a specific combination of technological, commercial, military, aesthetic, and cultural forces. This book illuminates the materiality of technology and its crucial role(s) in mediating the images and events we call Earth.
Coletivo Marginal
O objetivo é discutir e protestar sobre temas polêmicos como a repressão policial aos bailes funks, divulgar a música produzida nas favelas, assim como toda a cultura que é criada nas comunidades ( gírias, a relação com o sexo, com a família e com a sociedade).
O coletivo também funciona como rede de contatos que conecta artistas e instituições ligadas a qualquer tipo manifestação ou intervenção cultural ligadas ao objetivo do projeto. A idéia é agregar parcerias afim de viabilizar essas manifestações e intervenções.
Como VJs o coletivo propõe o uso de suas imagens em shows, festas, bailes, eventos, intervenções urbanas entre outros.
Como DVJs propõe-se um remix ao vivo destes conteúdos, onde aúdio e vídeo são controlados em tempo real pelos integrantes do coletivo com a participação de MCs. A apresentação transforma-se numa performance conceitual, planejada para atingir o máximo de sinestesia entre som e imagem.
Também constam nos planos do coletivo a produção de videoclipes, documentário e curtas envolvendo a temática abordada durante as pesquisas. Além de workshops de produção de conteúdo nas comunidades envolvidas.
Flock is a free, open source web browser
We believe that it should be easy for everyone to contribute to and participate on the web. To that end, we've started with integrating tools that make it easier to blog, publish your photos and share and discover things that are interesting to you.
Do it yourself survival is a collection of essays, tips and case studies collated from an online call for participation by C6.
The eclectic mix presented within these pages shows the breadth and current diversity of art/activism practice today from around the world.
Whether that is creating wireless networks, pissing on national monuments or building cardboard friends, it is certain that these submissions show that practitioners are taking their work to new spaces and audiences, redefining, through the engagement with the community, what we have considered to be ‘art’.
The Musical Gestures Toolbox
Needless to say, there are many different kinds of gestures associated with music, but it could be useful to consider gestures in view of the following three main categories:
- Sound-producing gestures, such as hitting, stroking, bowing, blowing, singing, kicking, etc. Mental images of such gestures, including the associated modes of execution such as fast, slow, hard, soft, short, long, etc., are usually indissociable from our notions of musical sound, evident in music-related metaphors (e.g. "hammering", "sweeping", "caressing", etc.) and mimicry (e.g. playing "air drums" or "air guitar").
- Sound-accompanying gestures, including all kinds of movements we can make to music such as marching, dancing, and more vague sound-tracing gestures such as following the melodic contours, rhythmical/textural patterns, timbral or dynamical evolutions, etc. with our hands, arms, torso, etc.
- Amodal, affective or emotive gestures, including all the movements and/or mental images of movements associated with more global sensations of the music, such as images of effort, velocity, impatience, unrest, calm, balance, elation, anger, etc., gestural images and concepts which are also encountered in dance.
These categories of gestures often overlap, and a gesture may belong to more than one category, e.g. energetic drumming may be perceived both as sound-producing gestures and as emotive images of joy or elation. Musical gestures thus encompass a large territory stretching from details of sound-production to more global emotive and aesthetic images of music, and also include considerations of cultural-stylistic vs. more universal modes of expression. In all cases, we believe musical gestures manifest the primordial role of human movement in music. For this reason, we speak of embodied perception and cognition in music in the sense that we as listeners relate musical sound to mental images of gestures, i.e. that listening (or even merely imagining music) also is a process of incessant mental re-enactment of musical gestures.
We believe the idea of embodied perception and cognition could represent a change of paradigm in music theory and other music related research, research which has often tended to exclude considerations of bodily movement from its conceptual apparatus in favour of focus on more abstract, notation-based elements of music. In our project, the focus on musical gestures provides us with a coherent and unifying perspective for what we see as a much needed renewal of music theory and other music research. Fortunately, recent developments within the cognitive sciences, music technology, and technologies for capturing and representing gestural data, converge to give us very favourable circumstances for this shift of focus towards musical gestures.
Ultrasound 2005 presents a diverse programme of live performances, installations, workshop and talks by UK and international artists often working in new interdisciplinary ways across the interrelated fields of new media, contemporary electronic music, software production, new technologies and audiovisual performance.
Do corpo monstruoso ao mito do ciborgue:
Os processos de construção de identidade e diferença no ocidente
Mixnbrew distributes and supports innovative video software developed by Bertrand Gondouin (AKA VJ Bertranol). The aim is to facilitate the work of composition with digital interactive media such as live computer-generated visuals, community video-blogs and webcasting, instruments and interfaces.
This company, based in Sweden (Göteborg) has already worked with theater and dance companies, music festivals, several disc-jockeys and video-jockeys, the Göteborg Museum of world culture and web-TV channels.
Desde 1996 RAZÓN Y PALABRA se publica en el ciberespacio. Un grupo de académicos e investigadores del PROYECTO INTERNET del Tecnológico de Monterrey, Campus Estado de México, encabezados por Octavio Islas y Fernando Gutiérrez, decidieron incursionar en el ciberespacio para publicar la primera revista WWW en español dedicada a temas de comunicación.
AUGMENTING HUMAN INTELLECT: A Conceptual Framework
This is an initial summary report of a project taking a new and systematic approach to improvin the intellectual effectiveness of the individual human being. A detailed conceptual framework explores the nature of the system composed of the individual and the tools, concepts, and methods that match his basic capabilities to his problems. One of the tools that shows the greatest immediate promise is the computer, when it can be harnessed for direct on-line assistance, integrated with new concepts and methods.
Democracy of Groups
In groups people can accomplish what they cannot do alone. Now new visual and social technologies are making it possible for people to make decisions and solve complex problems collectively. These technologies are enabling groups not only to create community but also to wield power and create rules to govern their own affairs. Electronic democracy theorists have either focused on the individual and the state, disregarding the collaborative nature of public life, or they remain wedded to outdated and unrealistic conceptions of deliberation. This article makes two central claims. First, technology will enable more effective forms of collective action. This is particularly so of the emerging tools for "collective visualization" which will profoundly reshape the ability of people to make decisions, own and dispose of assets, organize, protest, deliberate, dissent and resolve disputes together. From this argument derives a second, normative claim. We should explore ways to structure the law to defer political and legal decision–making downward to decentralized group–based decision–making. This argument about groups expands upon previous theories of law that recognize a center of power independent of central government: namely, the corporation. If we take seriously the potential impact of technology on collective action, we ought to think about what it means to give groups body as well as soul — to "incorporate" them. This paper rejects the anti–group arguments of Sunstein, Posner and Netanel and argues for the potential to realize legitimate self–governance at a "lower" and more democratic level. The law has a central role to play in empowering active citizens to take part in this new form of democracy.
Algum internauta paciente e muito bem intencionado tomou a iniciativa de fazer a tradução das mais de 7 horas de entrevista feitas a Deleuze por Claire Parnet, compiladas em vídeo.
Eye|Con is the first VJ-label in Austria founded by 4youreye and synoptics
Our association is supporting VJs and and VJ-culture in general and trying to be the “missing (communication-) link” between artists and promoters. We are working as a platform for exchanging ideas, knowhow, work and equipment.
To bring more attention to our scene we are (co)organizing events like “equaleyes” and festivals with the main focus on visual arts (like the ContactEurope VJ-Festival).
To support newcomers in this business we give workshops (eye|con VJ-Academy) and organize newcomer-competitions.
BRAINTRUSTdv is an ongoing attempt to understand electronic cinema on its own terms as well as through the prism of the twentieth-century art form from which it derives.
The mission of Electronic Music Foundation is to empower individual creativity in music worldwide.
We do this by producing events of international interest, communicating the history and creative potential of electronic music to the public, encouraging worldwide community and cultural diversity, inspiring engagement with environmental issues, and fostering the development and exchange of new ideas at the crossroads of music and technology.
We produce events, commission new work, publish and distribute materials, disseminate information, and maintain a global network of contacts and collaborators.
21C is that magazine: A stunningly designed showcase for idea-driven writing about visionary thinkers, trendsetters and new, new things - the people, trends and ideas at the cultural cutting edge. 21C will be inspiring and innovative as early Wired; stylish and smart as the new New Yorker; edgy as Disinformation or Juxtapoz; ferociously funny as The Onion or Suck; and arresting as the original 21C or World Art, seducing the eye with bold visuals and design that is at once radical and readable. Overall, 21C will be attractive but tough, commercial but questioning, readable but intelligent, smart yet accessible.
Modul8 is a revolutionary MacOS X application designed for real time video mixing and compositing. It has been designed for VJs and live performers.
FESTIVAL INTERNACIONAL DE LINGUAGEM ELETRÔNICA
www.file.org.br
De 31 de outubro a 20 de novembro de 2005
O FILE 2005 Festival Internacional de Linguagem Eletrônica acontece este ano no Centro Cultural Fiesp, de 31 de outubro a 20 de novembro de 2005, de terça a sábado das 10h às 20h e aos domingos das 10h às 19h. A programação ocupa a Galeria de Arte, o Teatro e o Mezanino do Centro Cultural que recebem a exposição, performances e palestras.
O FILE, o maior festival de arte e tecnologia do Brasil, há seis anos vem inserindo o país no contexto mundial das novas mídias, realizando uma compilação de produções artísticas no campo das artes eletrônicas e digitais, e funcionando como um indicador da pluralidade dessas produções. Os trabalhos participantes do FILE 2005 são resultado de uma intensa pesquisa e seleção que trouxe à tona uma grande variedade de produções nacionais e internacionais.
Participam desta 6a edição do FILE aproximadamente 300 artistas - entre grupos, coletivos e trabalhos individuais - de mais de 30 nacionalidades, com trabalhos nas áreas de net art, web art, animação interativa, hipertexto, web filme interativo, cinema interativo, panoramas, VRML, games, software art, generative art, inteligência artificial, robótica, música, performance, instalações interativas e instalações eletrônicas.
Assinar:
Postagens (Atom)
