WATCH PIECE I

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Watch a hundred year old tree breathe.
Thank the tree in your mind for showing us
how to grow and stay.

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From the 100 Acorns Blog by Yoko Ono

Description of blog project below:

"It's been 44 years since my book of conceptual instructions, GRAPEFRUIT was first published in 1964.

On 15 June 1968, John Lennon & I planted two acorns for peace at Coventry Cathedral. It was the first of our many Peace 'Events'.

In the summer of 1996, I picked up from where I left off, and wrote 100 ACORNS.

Starting on the 40th anniversary of the Acorn Peace Event on 15 June 2008, I will publish here an 'Acorn' every day for 100 days.

After each day of sharing the instructions, you should feel free to question, discuss, and/or report what your mind tells you.

I'm just planting the seeds.

Have fun.
Love, yoko
June 2008"

Originally posted on 100 Acorns by Rhizome


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"Untitled", 2006, incinerated laptop by Maria del Carmen Montoya.

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Originally posted on VVORK by Rhizome


Conflux Festival 2008

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CONFLUX FESTIVAL 2008.
SEPT 11-14.
CENTER FOR ARCHITECTURE, NYC.

Conflux is the annual New York festival for contemporary psychogeography, the investigation of everyday urban life through emerging artistic, technological and social practice. At Conflux, visual and sound artists, writers, urban adventurers and the public gather for four days to explore their urban environment.

People from a wide variety of backgrounds and cultures come together at the festival to re-imagine the city as a playground, a space for positive change and an opportunity for civic engagement. The Village Voice describes Conflux as a "network of maverick artists and unorthodox urban investigators...making fresh, if underground, contributions to pedestrian life in New York City, and upping the ante on today's fight for the soul of high-density metropolises."

From architects to skateboarders, Conflux participants have an enthusiasm for the city that's contagious. Over the course of the long weekend the sidewalks are literally transformed into a mobile laboratory for creative action. With tools ranging from traditional paper maps to high-tech mobile devices, artists present walking tours, public installations and interactive performance, as well as bike and subway expeditions, workshops, a lecture series, a film program and live music performances at night.

Conflux is produced by Glowlab, an independent, Brooklyn-based production and publishing studio with a gallery in Williamsburg and a web-based magazine at glowlab.com.

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Originally posted on Rhizome.org Announcements by Rhizome


Un-Dead-Link, physical death of a computer game

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a_080602_01.jpg
Japanese media art unit Exonemo's latest work focuses on the differences between two worlds - the real, physical and our increasingly information-based, virtual. Citations of doubt in the real world itself among the two artists (Sembo Kensuke and Yae Akaiwa) led to an identification and consideration of a gap between the two worlds, namely one of "death." For the duo, "death" in the real world has no relation to a death in the proposed imaginary world of information. Un-Dead-Link (exhibited at Plug-In, Basel till August 24) works to connect the different realities and blur such a boundary by relying on a pre-programmed software with electronic goods Exonemo bought in Basel. "We modified the game Half-Life2 by using Garry's mod. The game is connected to the piano while all electrical goods are connected by midi/dmx (protocol) with custom devices." With that, the audience can see, feel and hear the effects of a symbolic death in a computer game in an actual physical environment, bridging the gap. The gallery has two contrasting spaces- the ground floor is bright and open while the basement floor is dark and closed; reflecting the two worlds in the space. -- Vicente Gutierrez, Neural.

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Originally posted on Networked Music Review by jo


Ergin Cavusoglu

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Kunstverein Freiburg
6 June to 10 August 2008

Ergin Çavuşoğlu's video installations reflect the complex and constantly changing migration of people between places and countries. Often filmed in ports, airports or markets, his videos treat the themes of travel and the process of transition that determines our reality. In this way they construct a lyrical narrative about the personal experiences of individuals within a broader collective history.

At the centre of the exhibition is the video installation Point of Departure, 2006 that was filmed in two airports, Stansted in southern England and Trabzon in the Turkish Black Sea region. Facing each other from the opposite ends of the European landmass, these two locations are subtly separated and recombined. Point of Departure explores the airport both as architectural structure, a machine for processing travellers and their belongings, but also as a space that lends itself to a certain poetic treatment.

Midnight Express, 2008 is a single channel video work that explores ideas on transience and mobility. The work was filmed on the Asian side of Istanbul on the main train line, which connects the Western part of the country to the East. The footage was filmed at night when the city space becomes liminal, showing the trains carving their ways in both directions at irregular intervals with only their lit windows visible. The work interprets the passage of the trains as a poetic representation exposing the boundaries of economic and personal motivations for movement.

The new two channel video installation Silent Glide, 2008 presents a 'point of departure', from a cut 'different' multitude of perspectives. The work is presented across two screens, which respectively show scenes from the downward spiral of a couple's relationship, and their surroundings. The setting is the dim industrial town of Hereke, Turkey ...

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Originally posted on e-flux shows :: rss by Rhizome


SMC08 : Space in Sound - Sound in Space (Berlin)

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5th Sound and Music Computing Conference
'Space in Sound -- Sound in Space'
July 31 - August 3, 2008
Technische Universität Berlin - Germany

http://www.smc08.org

Every era develops its specific, culturally defined awareness of space as well as forms of its aesthetic reification. In music, we can trace a development from an architectural place of sound to the symbolical space of formal and structural projections and finally to the imaginitive, musically immanent space of compositional fantasy. From thereon the actual space can be functionalised musically, it can, however, also be opened to and expanded by technical spaces. These, as digital simulations, enable both universal manipulation and boundless scaling. The conception of an "acoustic cyberspace" becomes constitutive for new aesthetical conceptions of form as well as for the generation and manipulation of sounds.

In 2007 the Technische Universität Berlin has installed the largest wavefield synthesis system worldwide with 832 channels and 2700 loudspeakers in a 700 seats lecture hall. During the 5th SMC 'Space in Sound -- Sound in Space' works for this system will be performed. This system will be augmented by a 20 channel Klangdome and an Acousmonium provided by GRM Paris in the same hall. The simultaneous installation allows a combination of different sound systems with their individual qualities as well as an analytical listening of the same works performed on different systems.

The scientific program of the SMC08 will have a special focus on different concepts and technologies of spatialisation, including sound art, acousmatic music, stereophonic reproduction, and wavefield synthesis. The talks will cover historical, aesthetical, technical as well as genre specific aspects of sound and space.

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Originally posted on ../mediateletipos))) by pablo sanz


[from seecoy] Media Art Net | Beckett, Samuel: Quad I + II

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via damon

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Samuel Beckett
"Quad I + II"

'Quad', the first in a series of minimalist experimental television plays made by Beckett in the 1980s for the broadcaster Süddeutscher Rundfunk, operates with a serial game involving the motional pattern of four actors, but equally accommodating four soloists, six duos, and four trios. Four actors, whose coloured hoods make them identifiable yet anonymous, accomplish a relentless closed-circuit drama. Once inside the square, they are condemned to monotonously and synchronously pace the respectively six steps of the lengthwise and diagonal lines it contains, in part accompanied by varying drumbeat rhythms. The mathematical precision and choreography is made possible by the exactness of the timing. Choreographic variation is confined to the number of performers, and the resultant changes in color constellations. The middle of the square, which is marked by a dot, must always be bypassed on the left-hand side. In the course of the production, the feet leave behind faint traces on the diagonals of the white square. 'Quad' (here you see the first version) is, for all its reducedness, the most dramatic of Beckett's last teleplays. The playwright also shot a black-and-white version with four figures dressed identically in white and acting to the beat of a metronome. -- Rudolf Frieling (from Media Art Net)

Originally posted on del.icio.us/network/cecimoss by seecoy


Corporate Suite

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Originally posted on Network Research by Rhizome


i’m friends with the skull

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Originally posted on javier's drawing and poetry corner by javier


don't look at the carpet

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Originally posted on out_4_pizza by Rhizome