http://turbulence.org/works/endgame

[Needs Adobe Flash Player]

"Endgame: A Cold War Story" -- for the web and Flash enabled touch screen devices (DROID) -- is a puzzle whose pieces are culled from an archive of long forgotten propaganda. In it a story about art, exile and history takes shape from the fragmentary remains of one woman's life.

"Endgame: A Cold War Story" is a 2011 commission of New Radio and Performing Arts, Inc. for its Turbulence website. It was made possible with funding from the Jerome Foundation.

BIOGRAPHY

Tal Halpern is a new media artist and electronic writer. His visual literary work includes "Digital Nature the Case Collection," "Le Nouveau Western," "Archiving Nature: Preservation Practices for a Digital Age," and "Chromosome 22." He has been a New York Foundation for the Arts Computer Arts fellow and been featured in numerous museums and festivals including Iowa Review Web, Turbulence.org, Sundance Film Festival Web 2006, File Electronic Language International Festival 2006, Zentrum für Kunst und Medientechnologie (ZKM), Karlsruhe Germany.

[Optimized for Google Chrome]

"PuréeData" is a web-browser interface for a single shared sound environment that allows live, collaborative patching for anyone, anywhere. Visitors interact with a shared PureData audio synthesis patch and listen to the results as an MP3 stream, with no software to install or set up. The project is open-source, and all are encouraged to modify, improve and set up their own "PuréeData" servers.

"PuréeData" is a 2011 commission of New Radio and Performing Arts, Inc. for its Turbulence website. It was made possible with funding from the Jerome Foundation.

BIOGRAPHIES

Ted Hayes is a poet-inventor: conceiving objects and experiences that explore the sublime and the enigmatic through recombination and deconstruction. He is a proponent of what he has dubbed "Research Art," or art-as-science experiment, and actively investigates the themes, technologies and ramifications of autonomy, emergence, semiotics, pattern recognition, and neural networks. Ted's works range from a group of language-inventing robots to a mythological city-founding ritual for soprano and string quartet, is a graduate of NYU's Interactive Telecommunications Program. His operating principle is, in a word, poetry: to pique with enigma and confound with beauty.

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Symposia 2011-2012

Symposium 1: Saturday 5 November 2011
Theme: what do we want from analysis of electroacoustic music and how might we get it?
Location: Institute of Creative Technologies, Gateway Street, Leicester

http://www.ioct.dmu.ac.uk/info/contact.html

Time: 10.30-17.30
Chair: Simon Emmerson
Keynote: Michael Clarke (University of Huddersfield)

This is no ordinary Symposium. Invited speakers will give 10 minute (max) presentations with one slide (if needed); there will be much more time for discussion; the field has been divided into arbitrary cliché genres; we must start somewhere and these may well be critiqued; such as - post-concrète and the acousmatics; soundscape and real world reference; glitch, hacking, failure aesthetics; sound art, installation and the site-specific; algorithmic and interactive; live instrumental (mixed and live electronics); live post-instrumental (hardware hacking, found and constructed instruments); electronica/IDM related; audio in computer games; discourse analysis - any others?

Contributors include: Simon Emmerson, Leigh Landy, Pierre Couprie, Mike Gatt, John Dack, Katharine Norman, Owen Green, Manuella Blackburn, Andrew Hugill, John Young, Pete Batchelor, John Richards, Bret Battey, Neal Spowage, Ben Ramsay, Panos Amelides, Katerina Tzedaki, Simon Atkinson - and more

In an afternoon session Pierre Couprie will give a demonstration of the first beta version of the project software 'EAnalysis' and Mike Gatt will report on the wiki OREMA project he has created.

While entry is free and open, spaces are limited and should be booked -please email s.emmerson@dmu.ac.uk to register (not the IOCT please). Your participation assumes you are happy to be recorded.

Further details will be available one week before the symposium.

This non exhaustive collection is intended to inspire, inform and enable people to apply peer-to-peer principles for making things and getting organised together. We hope that all art lovers, makers, thinkers, organisers and strategists will find something for them from this set of imaginative, communitarian and dynamic contemporary practices.

Curated by Furtherfield: Ruth Catlow and Marc Garrett with additional texts by Charlotte Frost and Rob Myers.

1 What You will Find in this Collection
2 Essays & Interviews
3 Radio Interviews
4 Artist Projects
5 Open Source Resources
- Open source services
- Organisational models and strategies
- Guides and how-tos
- Licensing
- Glossary for Beginners in FOSS Art

Can be found at the the Foundation for P2P Alternatives

http://p2pfoundation.net/World_of_Free_and_Open_Source_Art

And at ACE/Thinking Digital

http://www.artscouncil.org.uk/about-us/digital-innovation-development/thinking-digital/collaboration-and-freedom/

Commissioned by Arts Council England for Thinking Digital.

http://www.artscouncil.org.uk/about-us/digital-innovation-development/thinking-digital/

It will also be presented at the FLOSSIE (Women in FLOSS) conference in November 15th. London.

http://www.flossie.org/?page_id=189

----------------------->Extraaaah!<--------------||||

Furtherfield commission 'Balloon Dog' by Rob Myers.

A downloadable freely licensed 3D model of an artwork to print and remix.
2011 Furtherfield commission.

Balloon Dog forms part of a series of shareable DIY 'readymades' for an era of digital copying and sharing. Iconic objects from the history of appropriation and remixing art are recreated as 3D-digital models. Users can then download and send the digital model to 3D printers via the Internet to receive their own physical artwork through the post at a scale of their choosing.

http://www.furtherfield.org/projects/balloon-dog-rob-myers

The Biennale de Paris was launched in 1959 by Andre Malraux with the purpose of creating a meeting place for those who would define the art of the future. After a hiatus of several years, the Biennale was relaunched in 2000. Since then it has not ceased in its efforts to unravel art from institutions. The Biennale de Paris rejects the use of art objects, which are too alienated by the market. It does not confine itself to a framework that would hinder its present actions or its political, economic and ideological evolution. By acting upon everyday life and its unfolding realities, the biennale seeks to redefine art by using criteria which rejects the idea of the artist as the sole protagonist in his work. Simply stated, the Biennale de Paris refuses to participate in today’s conventional art world. By mixing up genres, exploiting porous frontiers and practicing the redistribution of roles, the Biennale de Paris allows art to appear precisely where it’s not expected.

-

La Biennale de Paris, un monde de l'art, parallèle, souterrain et hors-la-loi

La Biennale de Paris, qui cherche à remettre profondément en question les fondements de l'art, se délocalise aux États-Unis et spécialement New York du 24 septembre au 8 octobre 2011 et met en place une série d'opérations, de conférences et de workshops dans quelques unes des universités et institutions importantes des États-Unis.

La Biennale de Paris a été créée en 1959 par André Malraux qui souhaitait en faire un lieu de rencontres où devaient s’expérimenter les nouvelles modalités d’un art du futur. Après quelques années d’interruption, elle a été réactivée en 2000 et depuis cette date, ne cesse de délier l’art de l’institution. La Biennale de Paris n’a jamais recours aux objets d’art qui sont trop aliénés aux lois du marketing. Elle n’obéit à aucun cadre régulateur qui l’entraverait dans ses actions au sein de notre contemporanéité, ses évolutions politiques, économiques et idéologiques. En agissant dans la vie réelle avec les usages qui lui sont rattachés, elle cherche à identifier l’art avec de nouveaux critères qui rejettent l’artiste comme protagoniste exclusif de ses influences. D’une façon générale, elle affirme son refus de participer aux différentes règles régissant le monde convenu de l’art. En pratiquant le mélange des genres, la porosité des frontières et la redistribution des rôles, la Biennale de Paris fait apparaître l’art, là où l’on ne l’attend pas.

Informations
(pressbook, 54 pages, PDF)

(English)

http://www.biennaledeparis.org/bdpus11,en.pdf

(Français)

http://www.biennaledeparis.org/bdpus11,fr.pdf

Contact
Markus Prosper
Secrétaire/Secretary
m.prosper@biennaledeparis.org
0033-(0)1-4534-3004
0033-(0)6-130-555-84

http://turbulence.org/spotlight/alephnull

by Jim Andrews

Aleph Null is a new work of interactive generative visual art by Jim Andrews. Written in JavaScript. Uses the new HTML 5 canvas tag. Best viewed by the light of a full moon. That's tonight.

There's also a slideshow of screenshots ( http://vispo.com/aleph/jim ) to give you a sense of what it can look like in full flight. Aleph Null is color music. No audio.

It takes practice to tease the really good stuff out of it. It's like an instrument that way. Or a game in which the goal is to experience color music and create visuals you like. It's like hunting the Snark, beauty or butterflies. Unlike most instruments, Aleph Null will play something whether a person is playing or not. But it benefits immensely by a human player. It knoweth not beauty, is but the instrument of thine own incandesence.

What is meant by “digital archives” well, primarily archives, repositories, content management systems and other initiatives that collect or manage born-digital material. These initiatives don’t have to primarily collect born-digital materials…in fact they are more likely to only have some born-digital content as part of their mandate. Or, maybe they don’t really have a “mandate” at all…maybe someone will contribute their thoughts about managing their own personal digital content or social media presence. The thread ties the participants together is that they collect, manage, preserve, develop, use, think about or otherwise love born-digital content.

Do you create, manage, or use digital archives? Would you like to participate? Well then, drop me a line at gretchen[.]gueguen[@]gmail[.]com with your contact info and I’ll keep you up to date!

You could contribute in a couple of ways:

1. Create a blog post at http://dayofdigitalarchives.blogspot.com/ for the 6th of October (rather that writing it on October 6th, you can pre-write it to automatically post on the 6th as well) talking about some aspect of your work with Digital Archives on that day. It could be a really specific exploration of a single activity on that day. Or it could be a broader topic not really related to that specific day (What kinds of tools you could really use to process a born-digital collection).

2. Write a post to your own blog similar to that described above and post a trackback to the Day of Digital Archives blog

3. Tweet throughout the day about your work with digital archives using the #digitalArchivesDay hashtag

Even if you can’t contribute a post or a tweet, be sure to keep up with the blog on the 6th and join the discussion in the comments.

Gretchen Gueguen
Digital Archivist, Digital Curation Services
University of Virginia Library
PO Box 400114
Charlottesville, VA 22904

http://www.turbulence.org/spotlight/jasonnelson/wocu1.html

Scrape Scraperteeth
another art/poetry game commissioned by the San Francisco Gallery of Modern Art

http://www.secrettechnology.com/scrape/scrape1.html