An anthology of articles on the evolution of minimal music in New York in 1972-1982, written by Tom Johnson, which originally appeared in the Village Voice. Published originally by Apollohuis, in Eindhoven, Holland, and now available as a free download.
A portrait of Eliane Radigue, produced by the Austrian IMA (Institute for Media Archeology), which observes Eliane in her workspace, operating the ARP and talking about the process of composing and recording.
Join us this Friday, February 19th, at 7pm in the New Museum's theater for the next New Silent Series event, Triple Canopy: The Medium Was Tedium.
Triple Canopy is an online magazine that explores how the Web informs the experience of reading literature and viewing artworks. The publication’s development has been inspired in part by a critical engagement with the legacy of Aspen magazine (1965-71). Artists and writers contributed projects to Aspen in the form of easily distributable media such as flip books, flexi-disc records, and paper sculpture. These projects coincided with a broader contemporaneous phenomenon: artworks intended to appear exclusively in magazines. The New Silent event, The Medium Was Tedium, examines how this move from the exhibition space to the printed page has been subsequently repeated by artists in relation to other media, such as television programming and the Internet. Triple Canopy’s editors will discuss practices that traverse mediums and the media with artists Mel Bochner, Daniel Bozhkov, and Erin Shirreff.
A large installation in the Grand Entrance of London’s Victoria and Albert Museum clatters away, registering its presence in this historic hallway. Jointly commissioned (by the V & A and SAP), bit.code (2009), by Julius Popp, consists of a large panel of black and white blocks which appear to represent a curious, indecipherable code as they rotate around their frame. Periodically its units align, clearly depicting popular terms streamed live from news site feeds. In this physical form and location, this is real-time made somehow more timely. Looming over visitors, a literal staging of data being decoded, the work asserts itself as an apt entry portal to "Decode", the V & A's inaugural exhibition of contemporary digital and interactive design.
The spectacular view of the starry sky has long been a source of delight and curiosity, but the abundance of artificial light in urban areas produces a glow that covers the stars in the firmament. The largest mirror ball ever made was suspended from a construction crane 50 meters above the ground to render the starry sky to the citizens of Paris for one night in the Jardin du Luxembourg during the Nuit Blanche event. (photo Émilien Châtelain)
The electronic journal Vectors are offering 15 fellowships to a four-week residency from July 19-August 12, 2010 at USC's Institute for Multimedia Literacy, where fellows will develop scholarly multimedia projects in early-to-mid stages of development. They are especially interested in collaborating with scholars working with video, or with photography, sound, or other graphic elements. Projects are not necessarily meant to be about new media, rather they are seeking innovative modes of multimedia scholarship across the humanities, from a variety of disciplines, periods and methodologies. Fellows will be provided a stipend, as well as travel and accommodation expenses. The deadline is March 24, 2010. For a short description about the fellowship, see the below. Full information, visit the original call, here.
The University of California’s Humanities Research Institute, USC’s Institute for Multimedia Literacy and the electronic journal Vectors are pleased to announce a National Endowment for the Humanities Fellowship Program for summer 2010 designed to foster innovative multimedia research. Titled “Broadening the Digital Humanities,” the Institute will offer scholars the opportunity to explore the benefits of interactive media for scholarly analysis and authorship, illustrating the possibilities of multimodal media for humanities investigation. Fellows participating in the program will learn both by engaging with a variety of existing projects as well as through the production of their own draft projects in collaboration with the Vectors-IML/UC-HRI team. The projects that fellows create will at once enrich their understandings of the digital humanities and model the field for other scholars. Select projects will be published in Vectors, while the Vectors team will also assist some fellows with applications for further funding for the projects begun during the institute.
First launched in 2005 at USC’s IML, Vectors www.vectorsjournal.org is an international electronic journal dedicated to expanding the potentials ...
This clip of protesters in Bil'in, Palestine dressed as Na'vi from James Cameron's Avatar circulated widely across the internet this week, and that, paired with the recent announcement that Avatar is nominated for 9 Oscars, made me feel that it was about time to present a round-up of the more thoughtful articles I've collected on Avatar. Feel free to post links in the comments section - I'm hoping this post can become a resource for those who might be interested in additional reading concerning the film.
► "Avatar and Invisible Republic" by Rob Horning [From PopMatters]
By coincidence, I began reading Greil Marcus’s Invisible Republic, which in part is about the demise of the 1960s folk movement and Bob Dylan’s role in destroying it after having come to exemplify it. The folkies, in Marcus’s depiction, had the same patronizing attitude toward Appalachian poverty and civil-rights injustices (the Other America, as Michael Harrington dubbed it) that the makers of Avatar seem to evince about colonization. Capitalism sullied and exploited the pure rural people, as clear-headed bourgeois liberals can best recognize. To adherents, folk music (and Avatar) offers us glimpses of pre-capitalist America, a “democratic oasis unsullied by commerce or greed” in which art seems “the product of no ego but of the inherent genius of a people.” The Avatar planet is such a product, for the race occupying it and the film-industry execs who made it.
The substance of this fantasy about indigenous people at harmony with their appropriate environment is the denial of individual subjectivity (the overriding value of the folk revival, according to Marcus), which is rendered unnecessary and impossible. Everyone is at one and merged with one another. Just look at the blue people in the movie sway to the unsounded ...
Digital Arts and New Media (DANM) Technical Coordinator