Net Art Review Monthy Features:
http://netartreview.net
(excerpts)
Blogger as Producer by Eduardo Navas:
http://www.netartreview.net/monthly/0305.3.html
Today, blogs follow the evolution of the newspaper writer, the
newspaper reader, and the rise of the collaborator. Blogs have pushed
the idea of the collaborator (as Benjamin saw it) in unexpected ways.
For instance, because blogs function on a network (the Web which runs
on the Internet), these are able to perform as platforms for not only
feedback on printed media that is newspapers and magazines (which now
also have online version of their publications), but also as places
where to simply exchange ideas with other writers. Communities of
bloggers (this is the name given to those who write on weblogs)
flourished beginning around 1997;2 and recently, blogs have become an
important part of the World Wide Web's infrastructure.
PROJECT.OVERVIEW: PLAN Report: Reflections on the Pervasive & Locative
Arts Network launch at the Institute of Contemporary Art in London,
February 1-2, 2005
BY: Naomi Spellman
http://www.netartreview.net/monthly/0305.1.html
What is locative media? Judging from the PLAN gathering, locative media
is the implementation of any context sensitive mobile technology - GPS,
Bluetooth, wireless broadband, Sensors, RFID, etc. - to the end of
actively examining and shifting how we interact with our physical
environment and with each other. Projects span a wide range including
social networking projects, walking projects employing digital mapping
tools, and location aware games.
INTERVIEW: with Raul Ferrera-Balanquet, Organizer and Director of
InteractivA
BY: Ignacio Nieto
http://www.netartreview.net/monthly/0305.2.html
InteractivA (Yucatan, Mexico) is a curatorial project and
interdisciplinary laboratory that was born as a conceptual art
proposal, according to organizer and director Raul Ferrera-Balanquet.
The project will take place between 16th and 26th of June of this year.
Ignacio Nieto presents an interview made with Raul Ferrera-Balanquet
about his project, what will comprise the next version of the festival,
and the risks that these types of projects have.
Ignacio Nieto (IN): I'm not clear what you mean when you said that
InteractivA was conceived like an artistic project. Because you
consider it as such, could you go a little bit deeper into that
assertion. And could you define in your terms: "What is an exposition?"
Raul Ferrera-Balanquet (RF): The idea about conceptual art arises as an
answer to various artistic practices, where the artists became curators
using works of art taken from the collections of the museums, working
with pieces of different periods and cultures, to make an alternative
dialogue. I did something like that with the first version of
InteractivA, because when I was in Australia I realized that many
artists were marginalized from the actual history of arts.
Contributions/Questions: [email protected] (Lora McPhail)
NAR Monthlies
-
Type: discussion
Comments
In this message from NAR:
http://netartreview.net
1) excerpts from monthly features
2) excerpts from weekly features
http://netartreview.net/monthly/0705_1.html
:NET.TEN:: \Online Selections//
BY: Gustavo Romano
This month Net Art Review invites Gustavo Romano, a visual artist based in
Argentina who has developed works in various media including installation,
video, actions, and online art to recommend ten online resources to our
readers.
http://www.netartreview.net/monthly/0705_2.html
FEATURE.INTERVIEW: Lora McPhail and Michael Jantzen interview electronic
artist Ellen Jantzen about her new body of work entitled "Artificial
Evolution"
L&M: What do you think are some of the most important things in life that
inspire you to do the work that you do? How do you develop your
hybridizations and/or elemental relationships?
EJ: First of all, I create to give meaning to my life. I draw inspiration
from the natural world; rock formations, seedpods, nests; shapes that
resonate with reproduction, growth and repetition. I feel compelled to work
in ways that create meaning. I pull from somewhere deep inside, not from a
purely analytical space, so my hybridizations are very spontaneous and
uncalculated. They are developed subconsciously then meaning is assigned as
I refine and title each piece.
FEATURE.REVIEW: Reflections on Conceptual Art and its relation to New Media,
a month long conversation at Empyre
BY: Eduardo Navas
http://www.netartreview.net/monthly/0705_3.html
I was a guest speaker on Empyre during the month of April 2005. The
following text is a revision of two particular postings on Conceptual art,
which I here use as launching platforms to reflect on the long debate that
took place between Raul Ferrera Balanquet (CU/MX), Kate Southworth and
Patrick Simons(UK), and myself. Other invited guests included Lucrezia
Cippitelli (IT), Heidi Figueroa Sarriera (PR), Raquel Herrera Ferrer (ES),
Lucas Bambozzi (BR), Andres Burbano (CO), and Joeser Alvarez.
The conversation was fruitful in various ways, ranging from abstract
theoretical propositions to more personal statements. The online exchange
proved to be one of the most important experiences for me until now, because
I learned that colonial ideology is more powerful than I expected. It is
thanks to Raul's intervention (this is how he considered his writing) that I
realized this shortly after the discussion came to a close. Such realization
will be the subject of reflection for the second part of this series. In
this first part I will focus on the premise proposed by Christina McPhee for
the month long conversation.
http://www.netartreview.net/monthly/minima_marina.pdf
In an ongoing collaboration, this month NAR features another .PDF originally
published in a minima:: No.12, a media and contemporary art publication
based in Spain. This month features "Subjective, intimate and public" by
Marina Zerbarini.</font></strong>
The idea that only a great amount of information inflowing in a dynamic and
random form could give rise to which I looked for was achieved using about
400 files, only some of which, never foreseeable nor programmable are seen
by the observer. At the moment it is a "work in progress" in its 1st phase.
It is a narrative project for the Internet, based on short stories by James
Joyce, in which I develop the concepts of hypertext, randomness,
participation and simulation of living and dynamic systems in real time.
Through hypertext and by creating a matrix of potential texts/images/sounds,
only some of which will be updated as a result of the interaction with
users, we try to make possible a different movement, a reading transformed
into a set of problems, a reading/writing which multiplies the production of
senses, the reader can interpret, arrange and structure it as regards their
perception and production.
"Eveline" by Joyce narrates the story of a young woman who lives with her
family in Dublin. The appearance of a man who would take her to live in
Buenos Aires sets in motion her fantasies on the happy life she could have,
in opposition to her reality and the relationship with her father. The
unexpected end, if we can call it an end when referring to Joyce's writing,
is open for the reader's interpretative creativity. "A sad case" is about
the life of a lone man, who has a relation with a married woman
spontaneously. The questions dealing with the reason why by Mr. Duffy
interrupts that relationship do not have enough answers.
Two histories that are related semantically to this other Eveline, a problem
of gender, vast in its plurality, a visual metaphor of several readings. It
raises questions related to affection, encounters, communication, passage
spaces, the place of the body, to sum up: delocalised subjectivity on a
network.
——
This Month Net Art Review offers more Weekly Features on Art and Mobile
Tech:
RAP AND MAPS: BETWEEN NETWORKS AND THE REAL
BY: Molly Hankwitz
http://netartreview.net/weeklyFeatures/2005_06_12_archive.html
LO TECH LOCATION:
TWO FROM THE 'SPECTROPOLIS' OEUVRE
BY: Molly Hankwitz
http://netartreview.net/weeklyFeatures/2005_06_19_archive.html
An inspiring exhibition of city and mobile media, wireless art was NYC's
Spectropolis 2004 festival/exhibition curated by Wayne Ashley of the Lower
Manhattan Cultural Council which brought together art exploring especially,
new modes of networked delivery in the city where wireless and urban space
collide. The following two projects demonstrate 'location' in relation to
the possibilities of mobile media to bring networked communication, free
speech and free access to public space.
'Hello, hello Garci…will I still lead by 1M?'
BY::Lora McPhail
http://netartreview.net/weeklyFeatures/2005_06_26_archive.html
This statement was the opening of the taped conversations between Philippine
President Gloria Macapagal-Arroyo and Commissioner on Elections Virgilio
Garcillano, which claim to prove Arroyo arranged to have the 2004 elections
rigged. When the documentation went public earlier this month, the Kapisanan
ng mga Brodkaster ng Pilipinas (KBP) fell under criticism from the National
Telecommunications Commission (NTC) for broadcasting the audio recording,
and was banned from continuing airplay.
PROJECT REVIEWS::
BY:Molly Hankwitz
http://netartreview.net/weeklyFeatures/2005_07_03_archive.html
Debord's 'Theory of the 'Derive' is one example of artists' cracking urban
experience to free the imagination in relation to 'place' and
'commodification' - a subject with endless possibility. This radical
urbanism, in the context of 'locative' and 'mobile media' deserves
reconsideration in today's climate of exploratory art, tracking,
surveillance, and mobile 'commercial' applications. Two interesting mobile
'bus' projects explore cities, social space and networking in the context of
creative spatialization and reinterpretations of navigation.