Call for South Asian Artists: ARTWALLAH 2006

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The ArtWallah Festival, a multi-disciplinary arts festival of the South Asian diaspora, is seeking innovative and original work from artists and artist-activists that address political, personal, or cultural celebrations / struggles, for its seventh annual event.

Started by a group of artists and community activitists in 1999, ArtWallah is a grassroots initiative responding to the need for a platform of expression and a channel of communication between South Asian diasporic artists and their communities. Since its humble beginnings ArtWallah has grown and continues to do so, attracting larger audiences and an increasing number of participants from all over the world.

ArtWallah allows you to share your work with a diverse audience while also offering you a venue to meet and collaborate with both established and emerging artists. Please join us in Los Angeles, CA June 2006 for a powerful weekend of community building through dance, film, music, literature, theatre, visual/new media arts, and spoken word.

We are very pleased to announce that this year’s festival will take place from June 22-25, at three new venues: We’ll start off the festival on Thursday night at the movies, screening films at one of LA’s best independent cinema houses. On Friday, live bands and DJs will entertain at one of the city’s best music clubs. And on Saturday and Sunday, June 24 and 25, the ArtWallah Festival will be at the Japanese American Cultural and Community Center, in the heart of Little Tokyo, in Downtown Los Angeles. The JACCC offers an outdoor plaza, a large indoor art gallery, a serene zen garden, many classrooms for workshops and panels, and the state of the art Japan America Theatre.

We encourage you to submit your work to ArtWallah 2006. We strive to showcase established and emerging artists of the highest quality ...

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Originally posted on Rhizome.org Raw by Rhizome


Piano Games

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Thomson and Craighead’s Unprepared Piano project consists of “a Yamaha Disklavier grand piano that is connected to a database of music MIDI files appropriated and compiled from all over the web. This library of found data is then “performed

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Originally posted on coin-operated by Rhizome


Nate Harrison preaches some gospel

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<img src="http://nkhstudio.com/images/popup_amen_thumbs.jpg" width="330"><br><br>Can I Get An Amen? is an audio installation that unfolds a critical perspective of perhaps the most sampled drums beat in the history of recorded music, the Amen Break. It begins with the pop track Amen Brother by 60's soul band The Winstons, and traces the transformation of their drum solo from its original context as part of a 'B' side vinyl single into its use as a key aural ingredient in contemporary cultural expression. The work attempts to bring into scrutiny the techno-utopian notion that 'information wants to be free'- it questions its effectiveness as a democratizing agent. This as well as other issues are foregrounded through a history of the Amen Break and its peculiar relationship to current copyright law.

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This one popped up on a lot of del.icio.us accounts, some months back, but it's interesting that Unmediated would bring it up, at this time. The question of information wanting to be free is an important, if not problematic one, right now. Just consider the paradox of Google books versus Google's query history... Joy Garnett's got some interesting posts on copyright, today (as she frequently does), over at Newsgrist.

Originally posted on unmediated by del.icio.us/tag/unmediated::exiledsurfer


Do our traces haunt us?

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Jan Chipchase: The Value of Traces



"How long do you want the digital traces of where you've been to last? Who should be able to see them?

To what extent does seeing traces of prior movement and interaction influence your own movement and interaction?"


See also:

Space and Culture: December 2001: Spatial Hauntings

"'Haunted' spaces merge difference into the every day experience and practice of place. We are attempting to understand spaces that are marked by the co-presence of the past, present and future, and by their indeterminancy: thresholds, fleeting spatial moments, marginal spaces, places on the border."

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Originally posted on Space and Culture by Anne


WBAI-FM "Avant Garde Concert III"

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historical_top.gif

Charlotte Moorman

A Trove of Archival Performances by Charlotte Moorman: UbuWeb is proud to host the audio archive of Charlotte Moorman (1933-1991), containing hours worth of unreleased works and collaborations by Nam June Paik, John, Cage, Earle Brown, Karlheinz Stockhausen, Terry Jennings, Toshi Ichiyanagi, Jackson Mac Low, David Behrman, La Monte Young, Sylvano Bussoti, George Brecht, Dick Higgins, Giuseppe Chiari and others. The selection is curated by Stephen Vitiello, with special thanks to Barbara Moore / Bound & Unbound.

WBAI-FM "Avant Garde Concert III" was originally broadcast December 12 & 17, 1964. A Recording of the Annual Avant Garde Festival Program of August 30, 1964. From an original announcement card: "Avant Garde Concert III. Third in a series of concerts recorded by WBAI this fall at Judson Hall. Cellist Charlotte Moorman is assisted by pianist Nam June Paik and soprano saxophonist Terry Jennings. In the Cage opus she utilizes not only her cello but additional whistles, chains, balloons (for breaking), etc. with recorded supplements such as the Queen Mary's departure blast and sounds from Big Ben. In Stockhausen's 'Plus-Minus', Miss Moorman is assisted by a full-size robot named Robot Opera, built by Nam June Paik."

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Originally posted on networked_performance by jo


“Dogs and cables

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Opening January 21 2006

Yvon Lambert New York is pleased to announce the exhibition Dogs and Cables by Miltos Manetas.

The exhibition will present two new paintings and three Websites, including Jesus Swimming ( www.jesusswimming.com ), which was exhibited at Musée d’Art Moderne de la Ville in Paris (2000) and the Valencia Biennial (2005) in Valencia Spain.

Miltos Manetas is a painter of contemporary life. He is one of the first artists to use computers, videogames, and contemporary lifestyle as his model. According to Lev Manovich, the fact that information society is difficult to represent visually does not mean it cannot be done. He explains that only few artists have attempted, and Manetas is one of them. Representing what humans do-stare into computer screens; type on keyboards; play computer games; and operate various other human-computer interfaces—seem only natural. Yet, Manetas is the only contemporary painter who made this reality the focus of his art.

Beginning from his early work, Powerbook (1995), to the latest Internet Paintings (2001-2005 inspired by Valéry Grancher), and Girls in Nike (2005), his work is a document of the chaotic sensation of living and interacting with the physical evidence of technological development. Manetas abstracts the concrete forms of the everyday realities with a soft color palette and flowing brushwork.

In 2000 Manetas presented the new art movement titled, “Neen

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Originally posted on WiFi-ArT.com by Valéry


Time Out New York / "Breaking and Entering: Art and the Video Game"

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my article on the current show at pace

Enshrined in a tent in "Breaking and Entering," which presents some of the brightest talents in the vast field of video games, Paper Rad's double-screen projection Gifs vs. Sprites opens with two girls announcing, in voices of stagey wonderment, that they are about to press the "F25 key". Their keystrokes unleash two visually dense animations: a whirling cacophony of 8-bit graphics—the building blocks of video games—and a pulsating montage of Web detritus. Both reflect, like much of the show, on adolescent identity as it forms in a media-saturated culture. [More....]

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Originally posted on del.icio.us/lauren_cornell by lauren_cornell


Vermiform Animation Installation

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Wormy Animation 16 - white

Internet


Vermiform Animation Installation

Non-Internet

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Originally posted on Tom Moody by tom moody