www.kanarinka.com
Fwd: <nettime> Questioning the Frame
following the responses on rhizome as well.
best,
kanarinka
Begin forwarded message:
> From: kanarinka <kanarinka@ikatun.com>
> Date: January 1, 2005 12:13:25 PM EST
> To: Aileen Derieg <emonk@george.eliot.priv.at>
> Cc: nettime-l@bbs.thing.net
> Subject: Re: <nettime> Questioning the Frame
>
> I too have followed this post on different lists with much interest as
> I am currently writing a thesis and a journal article for Cartographic
> Perspectives on intersections between cartography/art. While I agree
> that Coco raises important questions about "categories of embodied
> difference", I find the lack of specific examples in her essay very
> disappointing. She discusses "new media mantras", "new media culture"
> and "new media theory" without giving us specific information on what
> these terms mean to her, who uses these terms and for what purpose.
> The essay accuses, but it isn't clear who, specifically, is
> implicated.
>
> The definition of maps as purely spatial presentations of an
> inherently panoptic and omniscient point of view ignores a whole field
> of projects that are engaging with geographical location in a way that
> privileges duration, embodiment, and particularity over the
> panopticism of traditional "maps". As these projects are shifting the
> borders and boundaries of art, they are also participating in
> redefining what constitutes a map and what constitutes a "mapping
> practice". Many of them critique traditional mapmaking just as Coco
> does (e.g. what is left off of the map? is a truly important question
> that many projects \_do\_ address). These projects are becoming known as
> Critical Cartography. What is at stake in most of these projects is
> performance and difference, not representation and identity.
>
> These projects use Deleuze's idea of a map as an abstract machine
> rather than the traditional panoptic, representational map --
>
> "What can we call such a new informal dimension? On one occasion,
> Foucault gives it its most precise name: it is a
Co-Operation by Natalie Loveless
Co-Operation by Natalie Loveless
Jan. 5 - 29
Bromfield Gallery
450 Harrison Ave.
Boston MA USA
www.BromfieldArtGallery.com
For my 4th performance-based wall-drawing installation I am fasting and
isolating myself in the Bromfield art gallery.
Art Interactive - Call For Exhibition Proposals
Art Interactive in Cambridge, MA, invites curators to submit exhibition
proposals for the 2005-06 season. Art Interactive's mission is to provide a
public forum that fosters self-expression and human interaction through the
development and exhibition of art that is contemporary, experimental, and
participatory. Previous exhibitions have included Engaging Characters
(Kathy Brew, Curator), Do-It-Yourself Fluxus (Midori Yoshimoto, Curator),
and eVolution (Christiane Paul, Curator).
The following call can also be found at:
http://www.artinteractive.org/curatorial_call.
Questions: contact proposals@artinteractive.org
-------------------------------------------
Call for Exhibition Proposals
Art Interactive in Cambridge, MA, invites curators to submit exhibition
proposals for the 2005-06 season. Art Interactive's mission is to provide a
public forum that fosters self-expression and human interaction through the
development and exhibition of art that is contemporary, experimental, and
participatory. Previous exhibitions have included Engaging Characters
(Kathy Brew, Curator), Do-It-Yourself Fluxus (Midori Yoshimoto, Curator),
and eVolution (Christiane Paul, Curator). To review these and other Art
Interactive exhibitions, please visit:
http://www.artinteractive.org/show_previous.php.
Art Interactive encourages proposals that presents works in any media, but
each proposal must address the goals described in the curatorial mission
statement. Please note that Art Interactive discourages artists who are
acting as curators from submitting proposals that include their own work.
To read the curatorial mission statement, please visit:
http://www.artinteractive.org/curatorial.php.
Jurors
Proposals will be reviewed by Art Interactive's Curatorial Committee,
comprised of Rachael Arauz, Independent Curator, Sharon Matt Atkins,
Assistant Curator, Currier Museum of Art, George Fifield, Director, Boston
CyberArts Festival and Adjunct Curator of Media Arts, DeCordova Museum,
Joseph Ketner, Director, Rose Art Museum, Jeff Talman, Artist, Emanuel
Lewin, Director, Art Interactive, Catherine D'Ignazio, Associate Director,
Art Interactive, Winnie Wong, Director of Curatorial Planning, Art
Interactive.
Gallery Space
Art Interactive is located in the Central Square neighborhood of Cambridge,
MA. The exhibition space is approximately 2,000 square feet with 16-foot
ceilings. Two glass walls provide extensive natural light, and the space can
be partitioned by four movable modular wall panels. Visits to the space
during gallery hours are encouraged, and a floor plan is available upon
request.
Support
If accepted, Art Interactive provides the following resources to assist the
Curator:
1) Exhibition Coordinator, Exhibition Designer and Graphic Designer to
assist in these aspects of exhibition planning.
2) Press and marketing support, Event Coordination, and Education and
Outreach are handled primarily by Art Interactive.
3) Technical support and labor for construction and installation.
4) Printing and design of posters, postcards, press releases, mailings, and
an exhibition brochure.
5) A host of high-end equipment including computers, projectors, cameras,
etc. A detailed specification list is available upon request.
In addition to these resources, Art Interactive will provide total
additional support of $2500. This is typically used for stipends, travel,
shipping, purchase of special construction materials or equipment. If the
budget for the proposed show exceeds $2500, please provide a detailed plan
for how and when additional funds will be raised. Art Interactive is able to
provide some administrative support, planning and strategy for raising
additional funds for a compelling curatorial project.
Deadline
Proposals must be received at Art Interactive no later than February 1,
2005.
Notifications will be sent by email to proposers on March 15th, 2005.
Submission Guidelines
Submissions must include 8 copies of the following:
1. Curator's CV (please include name, address, email address)
2. Proposed exhibition title (maximum 10 words)
3. Exhibition Abstract (maximum 500 words)
4. Exhibition Checklist (maximum 1 page)
5. Proposed Budget (see above, "support")
6. Supporting visual materials
Supporting visual material can include DVDs, CD-ROMs, websites, and printed
photographs.
A self-addressed stamped envelope may be included in the submission for the
return of these materials.
Please send all submissions by mail to:
Curatorial Committee
Art Interactive
130 Bishop Allen Drive
Cambridge, MA, 02139
Questions
For more information, please visit:
http://www.artinteractive.org/curatorial_call.
For additional inquiries, please email proposals@artinteractive.org
Re: fuck Bush
---------
Winning on fear itself, the GOP is ready to take the country even farther
right.
- - - - - - - - - - - -
By Sidney Blumenthal
Nov. 3, 2004 | "This country is going so far to the right you are not even
going to recognize it," remarked John Mitchell, President Nixon's attorney
general, in 1970. Mitchell's prophesy became the mission of Nixon's College
Republican president, Karl Rove, who implemented the strategy of
authoritarian populism behind George W. Bush's victory.
In the aftermath, Democrats will form their ritual circular firing squad of
recriminations. But, finally, the loss was not due to their candidate's
personality, the flaws of this or that advisor or the party's platform. The
Democrats surprised themselves at their ability to raise tens of millions of
dollars, inspire hundreds of thousands of activists, spawn extensive new
organizations, attract icons of popular culture and present themselves as
unified around a centrist position. Expectations were not dashed. Turnout
vastly increased among African-Americans and Hispanics. More than 60 percent
of the newly registered voters went for John Kerry. Those concerned about
the economy voted overwhelmingly for him; so did those citing the war in
Iraq as an issue. But the surge of the Democrats was more than matched.
Using the White House as a machine of centripetal force, Rove spread fear
and fused its elements. Fear of the besieging terrorist, appearing in Bush
campaign TV ads as the shifty eyes of a swarthy man or a pack of wolves, was
joined with fear of the besieging queer. Bush's announcement that he favored
a constitutional amendment to ban gay marriage was underscored by
referendums against it in 11 states, including Ohio -- all of which won.
The evangelical churches became instruments of political organization.
Ideology was enforced as theology, turning nonconformity into sin, and the
faithful, following voter guides with biblical literalism, were shepherded
to the polls as though to the rapture. White Protestants, especially in the
South, especially married men, gave their souls and votes for flag and
cross.
The campaign was one long camp meeting, a revival. Abortion and stem cell
research became a lever for prying loose white Catholics. (Rove's designated
Catholic leader, his own political pontiff, had to resign in disgrace after
being exposed for sexual harassment, but this was little reported and had no
effect.) To help in Florida, a referendum was put on the ballot to deny
young women the right to abortion without parental approval, and it
galvanized evangelicals and conservative Catholics alike.
While Kerry ran on the mainstream American traditions of international
cooperation and domestic investment, and transparency and rationality as
essential to democratic government, Bush campaigned directly against these
very ideas. At his rallies, Bush was introduced as standing for "the right
God." During the closing weeks of the campaign, Bush and Cheney ridiculed
internationalism, falsifying Kerry's statement about a "global test." They
disdained Kerry's internationalism as effeminate, unpatriotic, a character
flaw and elitist. "You can put lipstick on a pig, but it's still a pig,"
Vice President Cheney derided in every speech. They grafted imperial
unilateralism onto provincial isolationism. Fear of the rest of the world
was to be mastered with contempt for it.
These emotions were linked to what is euphemistically called "moral values,"
which is actually social and sexual panic over the rights of women and
gender roles -- lipstick traces, indeed. Only imposing manly authority
against "girlie men," girls and lurking terrorists can save the nation.
Bush's TV ads featured digitally reproduced crowds of cheering soldiers,
triumph of the leader through computer enhancement. Above all, the exit
polls showed that "strong leader" was the primary reason Bush was supported.
Brought along with Bush is a gallery of grotesques in the Senate -- more
than one of the new senators advocating capital punishment for abortion,
another urging that all gay teachers be fired, yet another revealed as
suffering from obvious symptoms of Alzheimer's.
The new majority is more theocratic than Republican, as Republican was
previously understood; the defeat of the old moderate Republican Party is
far more decisive than the loss by the Democrats. And there are no checks
and balances. The terminal illness of Chief Justice William Rehnquist
signals new appointments to the Supreme Court that will alter law for more
than a generation. Conservative promises to dismantle constitutional law
established since the New Deal will be acted upon. Roe vs. Wade will be
overturned and abortion outlawed.
Now, without constraints, Bush can pursue the dreams he campaigned for --
the use of U.S. military might to bring God's gift of freedom to the world,
with no more "global tests," and at home the enactment of the imperatives of
"the right God." The international system of collective security forged in
World War II and tempered in the Cold War is a thing of the past. The
Democratic Party, despite its best efforts, has failed to rein in the
radicalism sweeping the country. The world is in a state of emergency but
also irrelevant. The New World, with all its power and might, stepping forth
to the rescue and the liberation of the old? Goodbye to all that.
- - - - - - - - - - - -
About the writer
Sidney Blumenthal, a former assistant and senior advisor to President
Clinton and the author of "The Clinton Wars," is writing a column for Salon
and the Guardian of London.
On 11/3/04 1:38 PM, "andrew michael baron" <baron@parsons.edu> wrote:
> FUCK bUSH!!!!!!!!!!!!!!!!!!!!!!
> AHHHHHHHHHHHHHHHHHHH
> vive www.bushnetwor.com <http://www.bushnetwor.com>
>
Re: Please support Turbulence
On 11/2/04 6:22 PM, "{ brad brace }" <bbrace@eskimo.com> wrote:
> On Tue, 2 Nov 2004, David Crawford wrote:
>
>> Please help Turbulence stay alive by going to
>> http://turbulence.org and clicking on the PayPal button.
>
> Click on my PayPal button first.
>
> Seems like they have more than enough New Media Nonsense
> Funding as it is: The Andy Warhol Foundation for the Visual
> Arts, The Greenwall Foundation, the Jerome Foundation, the
> LEF Foundation, the National Endowment for the Arts, the New
> York City Department of Cultural Affairs, and the New York
> State Council on the Arts.
>
> --- bbs: brad brace sound ---
> --- http://63.170.215.11:8000 ---
>
>
> The 12hr-ISBN-JPEG Project >>>> posted since 1994 <<<<
> "... easily the most venerable net-art project of all time."
>
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>
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> alt.binaries.pictures.fine-art.misc alt.12hr
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>
> . Other | Mirror: http://www.eskimo.com/~bbrace/bbrace.html
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> | http://bbrace.net
>
> { brad brace } <<<<< bbrace@eskimo.com >>>> ~finger for pgp
>
> * http://www.bloglines.com/blog/bbrace
>
>
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>
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Erase the Border [Planned, Spring 2012]
Donate
“Erase the Border” is a project that will take place on the Tohono O’odham Indian Reservation in southern Arizona.
The Institute for Infinitely Small Things is currently seeking funding to complete the project in Spring 2012 (see detailed request below).
The project would be to physically “erase” the U.S.-Mexico border fence on the Tohono O’odham Nation in southern Arizona. The fence divides the Tohono O’odham community, disrupts ceremonial paths, desecrates sacred burial grounds and prevents members from receiving critical health services.
Ofelia Rivas and youth from the Tohono O’odham Nation will work with the Institute for Infinitely Small Things to create a series of drawings from performances on the U.S.-Mexican border in southern Arizona.
What we will do
We will walk the border fence in a ceremonial way.
We will drag and press large 30″ x 40″ sheets of fine art paper along the fence as we go.
The walking and pressure will create drawings that pick up physical matter – dirt, debris, bugs, rust – and remove it from the border fence.
A small part of the border fence will be removed forever.
The created drawings are abstract landscapes.
About the Tohono O’odham
The Tohono O’odham are an indigenous tribe that live on the second largest indian reservation in the U.S. Their lands straddle 75 miles of the U.S.-Mexico border in southern AZ. The O’odham lived on the land long before the US or Mexico or the Gadsden Purchase or Homeland Security.
The vehicle border fence, erected in 2008 by Homeland Security, stretches for 75 miles across the O’odham lands in the deserts of Arizona.
More Information
Please watch the below video for a full background on the Tohono O’odham’s situation on the border.
Seeking Funding
Originally slated to be performed in Fall 2011, this project continues to seek funding to be completed in Spring 2012. See below for more info.
Any contribution is welcome; our total need is $2,400, which would cover the following:
- Travel for 2 members of Institute for Infinitely Small Things from Boston to AZ
- Fine art paper
- Transportation for Ofelia Rives, O’odham youth and Institute members (distances on the reservation are great and gas is expensive)
- Honorarium for youth participants
- One day of meals for everyone involved
- Still photography, video documentation and post-production
Donate
The Border Crossed Us
The Border Crossed Us is a temporary public art installation by the Institute for Infinitely Small Things that transplants the US-Mexico border fence in southern Arizona to the UMass Amherst campus.
The Border Crossed Us Book is now available for order. See below for details.
What happens when we divide a territory that the community imagines as contiguous? How does the international border in Arizona, seemingly remote from a college campus in northern New England, touch all of our lives?
From April 20 to May 1st, the UMass Amherst campus was divided along its North-South boundary by a to-scale photographic replica of the vehicle fence that runs along the international boundary in southern Arizona. The particular stretch of fence being represented was erected in 2007 by Homeland Security and now divides the Tohono O’odham Nation – the second largest Native American reservation in the country – into two parts.
The fence will ran between a parking garage and the campus center. Over the course of two weeks it served as a provocation, a touchstone for conversation, and a site for talks and performances. Along with the fence’s insertion into daily life on campus, the project invited a delegation of Tohono O’odham, including a tribal elder and several youth to speak about their experience. In addition, the Native American Studies Certificate Program in the Anthropology Department held a panel discussion on Borders & Indigenous Sovereignty as part of the campus’ annual Native American Powwow. Border issues affect several other tribes, including the Mohawk and Abenaki. The delegation of O’odham spoke along with others about these issues during the conference and participate in the powwow.
This project was commissioned by the University Museum of Contemporary Art at UMass Amherst.
The following time-lapse video of the installation was produced using a motion-detecting camera designed for hunting purposes. Sounds are from the accompanying sound installation, which was installed inside the large, circular parking garage vent in the foreground:
The Border Crossed Us Book
This 42-page, full-color book uses maps, essays, photographs, and a variety of other rich graphics to communicate the background and results of The Border Crossed Us.
More info, images and dialogue on the project website:
No One Has Yet Determined What The Body Can Do
On Sunday, October 1 2011 the Institute joined with Occupy Boston in the 6th HONK! Parade to carry signs with two messages: “NO ONE HAS YET DETERMINED WHAT THE BODY CAN DO” and “#OCCUPYBOSTON”.
At 7AM Thursday, October 6 2011 the Institute strung banners over a Boston highway with the same messages. This was done as part of the multi-city Afghanistan War Tenth Anniversary Banners project.
Transgender Bathroom Dedication
Transgender Bathroom Dedication dedicates the men’s room at the MFA Boston to Dean Spade who was arrested in 2002 for using the men’s room in Grand Central Station and dedicates the women’s room at the MFA Boston to Chrissy Pollis who was the victim of a transgender hate crime in a Maryland bathroom in May 2011.
These two new works are gifts to the MFA Boston on behalf of the Institute for Infinitely Small Things. They were emplaced as part of “Boston’s Best 40-ennial”, a 19-minute historical and totally unauthorized exhibition in the bathroom of the MFA Boston organized by Greg Cook on June 20th, 2011.
More information about the exhibition:
Failure Support Group
Is there, actually, a recipe for failure? Are certain methodologies more prone to failure than others? How? What is at stake in acknowledging failure in one’s process, one’s community, or one’s career?
Failure Support Group from Infinitely Small on Vimeo.
In April 2011, The Institute for Infinitely Small Things sent out an open invitation to discuss failed processes and failed projects. Consisting of 5-7 minute presentations by the Institute and invited participants, the event addressed the ways in which failures can and cannot be currently discussed in the world–and how we may be able to imagine to new ways to perceive, view and characterize what “failure” is.
This was the second part in a series started by Platform2.
The World’s Largest Potluck Ever
The World’s Largest Potluck Ever would stage a mile-long potluck dinner on the Cambridge Street Corridor in Cambridge, MA, in an attempt to break the Guinness record, showcase the diversity of the businesses and residents, build community, publish a recipe book and display a dazzling array of home-cooked meals. For one Sunday afternoon, the whole street would be transformed into a giant neighborhood block party with food, performers and fun.
The World’s Largest Potluck Ever was inspired by Cambridge Street’s history as a commercial corridor of independently-run businesses and as a meeting place for people from diverse regions. Cambridge Street has seen significant waves of immigrants from Ireland, Poland, Italy, Portugal and Brazil. While the street has numerous festivals and special events (such as the 84-year-old annual Feast of Saints Cosmas and Damian or the Inman Square summer movie nights) there is no special event that celebrates the corridor specifically.
The World’s Largest Potluck Ever was part of a competition for the Cambridge Street Public Art Commission in Cambridge, MA, in 2010. It was on display in the city’s art gallery in Spring 2010 and three local residents were commissioned to create homemade dishes for gallery visitors to taste. Unfortunately the project was not selected for the commission but this idea is still worth doing! (Who does not want to attend the world’s largest potluck ever??) Contact me if you are interested in reviewing the full proposal.
Art & Cartography
An article for the International Encyclopedia of Human Geography, published by Elsevier Press. Download article.
Synopsis:
Art has taken a distinct “cartographic turn” in the last century. This period represents a veritable explosion of artwork that takes on cartography in order to critique, subvert, and reimagine territory. Artists have made maps, subverted maps, performed itineraries, imagined territories, contested borders, charted the invisible, and hacked physical, virtual, and hybrid spaces. There are three loose groupings of important mapping impulses that have characterized the artistic appropriation of cartographic strategies, both literally and metaphorically, from the early twentieth century to present times: 1) Symbol Saboteurs: artists who use the visual iconography of the map to reference personal, fictional, utopian, or metaphorical places; 2) Agents and Actors: artists who make maps or engage in situated, locational activities in order to challenge the status quo or change the world; and 3) Invisible Data-Mappers: artists who use cartographic metaphors to visualize informational territories such as the stock market, the Internet, or the human genome. This article outlines and contextualizes these three impulses with numerous examples.
It takes 154,000 breaths to evacuate Boston
kanarinka ran the entire evacuation route system in Boston and attempted to measure the distance in human breath. The project also involves a podcast and a sculptural installation of the archive of tens of thousands of breaths .
The project is an attempt to measure our post-9/11 collective fear in the individual breaths that it takes to traverse these new geographies of insecurity.
The $827,500 Boston emergency evacuation system was installed in 2006 to demonstrate the city’s preparedness for evacuating people in snowstorms, hurricanes, infrastructure failures, fires and/or terrorist attacks.
It takes 154,000 breaths to evacuate Boston consists of:
- a series of running performances in public space (2007)
- a web podcast of breaths (2007)
- a sculptural installation of the archive of breaths (2008)
Running Performances
Website & Podcast
Project Website: www.evacuateboston.com
Archive of Breaths (sculptural piece)
Medium: custom-made table, 26 jars, 26 speaker components, wire, 13 CD players
Dimensions: 45″x72″x16″
I created a sculptural & audio archive of the collection of breaths. There are 26 jars on a custom-made table which correspond to the 26 runs it took to cover the evacuation routes. Each jar size corresponds to the number of breaths from that run. The speaker inside the jar plays the breaths collected from that run. (Better documentation coming soon)
This piece is on view in Experimental Geography, a traveling show curated by Nato Thompson and produced by ICI.
Exit Strategy
It takes 154,000 breaths to evacuate Boston was installed at the Institute of Contemporary Art Boston in 2009 as part of the James & Audrey Foster Prize show along with a new work entitled Exit Strategy.
Excerpt from Exit Strategy:
Exit Strategy. Video installation loop 2’15”. 2008.
Digging for Happiness
The Institute for Infinitely Small Things sought happiness through the labor of digging an enormous hole in the front yard of a Cambridge family who volunteered their land for this purposelessness.
