Cierre de la convocatoria: 30 septiembre 2010
Convocatoria para colaboradores: 20 octubre – 20 noviembre 2010
Fechas del taller: 21 noviembre – 8 diciembre 2010
Muestra de proyectos: 8 – 15 diciembre 2010
Para esta nueva edición en Belo Horizonte (Brasil) se seleccionará un máximo de 8 propuestas –locales, nacionales e internacionales– que desarrollen y apliquen creativamente recursos tecnológicos simples y accesibles en proyectos artísticos y educativos. Todos aquellos interesados pueden inscribir sus propuestas online en interactivos.marginalialab.com.
Las actividades contarán con la orientación de los instructores Fernando Rabelo (Brasil), Kiko Mayorga (Perú) y Arturo Castro (España), artistas y educadores con una actividad internacionalmente reconocida y vinculada a importantes proyectos de desarrollo en este campo.
Interactivos?’10 BH: Baja Tecnología de Punta se completará con un seminario, que contará con la participación de los instructores y colaboradores invitados, con el objetivo de presentar y debatir distintas lecturas del tema propuesto. Al final del taller, los resultados alcanzados por los proyectos seleccionados serán mostrados al público durante una semana. [+info]
Organiza: Marginalia+Lab y Ocupar Espaços, integrando en el programa cultural Vivo Arte.Mov. Patrocina: Vivo a través de la Ley Estadual de Incentivo a la Cultura de Minas Gerais. Colaboran: Medialab-Prado y el Centro Cultural de España en São Paulo. Interactivos? es una plataforma desarrollada por Medialab-Prado.
Más información en http://medialab-prado.es/article/interactivos10_bh
Our summer break comes to a resounding close with the Furious Fists of Friday-Saturday Double Explosion!
Singular Ideas in Sound
FRIDAY Aug 20, 8:30pm
Microtonal music by Portland’s AURES
Electro-acoustic music by Burlington’s GREG DAVIS
Opening sets by LA artists EARN and RALE
May 31, 2010
The production platform Interactivos? wins an Honorary Mention in the category of “Interactive Art” as a unique space for the collective creation of interactive installations.
Since Interactivos? was held for the first time in 2006, it has had remarkable success with its open innovation model, in which ten ideas chosen through a public open call are developed by groups of collaborators from all over the world. They attend the workshop to contribute their knowledge to carrying out the projects. During the two-week workshop, a context for collective learning and living and working together is created that generates surprising results.
For years now, and especially since releasing our film http://www.theyesmenfixtheworld.com/screenings.htm , we’ve been been flooded with emails saying we should go after evil company A, or evil politician B, or military-industrial complex C.
Naturally, we can’t. There are too many evildoers, and far too few of us. But the good news is, there are lots of groups and individuals who can surely do better than us, perhaps with a little coaching and guidance.
That’s why we’re launching the Yes Lab http://www.theyesmen.org/lab/ , a series of brainstorms and trainings to help activist groups carry out Yes-Men-style activist projects on their own. We’ll give advice and facilitate, but participants will carry out actions themselves, without us.
We’ve already started working with three different groups—stay tuned this fall—but to really ramp up, and be annoying to as many big-time criminals as possible, we’ll need to hire someone to organize things, and someone else to rally our tens of thousands of subscribers into ongoing projects. (Then, soon, instead of emails like this, you’ll be getting emails asking you to participate in actions near you!)
We’re aiming to raise $50,000 for an initial 6 months while we build momentum and find other sources of funding. If you can chip in something to help http://theyesmen.org/lab/donate , we’ll retaliate by sending you some priceless, wacky or idiotic stuff http://theyesmen.org/lab/goodies from the archive of weirdness we’ve collected over the past 12 years. (Trying to find cola-flavored condoms or a nice human-flesh candle? Yup, we got ‘em, and more.)
Also, the first $10,000 in donations will be matched by a very generous donor who really wants to see the Yes Lab get going full steam. So if you decide you can spare some money to spread havoc among those who need it, not only will you receive a unique grab-bag http://theyesmen.org/lab/grab-bag of goodies, or a totally weird and unique service http://theyesmen.org/lab/grab-bag … but your donation will be worth twice as much!
If our outlandish wares don’t tempt you enough to forego the June rent, you can still help us out by sharing this with everyone you think might help out http://www.theyesmen.org/lab/share .
And most importantly: if you’re with an activist organization, and would like to work with the Yes Lab to develop some projects around an issue you’re working on, please drop us a line at YesLab at theyesmen dot org, or via our contact form http://theyesmen.org/contact . We’d love to hear from you, even if it could be a while before we have the capacity to really move forward with projects!
Yours in productive bedlam,
The Yes Men
Ricardo Dominguez addressing his supporters at UC San Diego Library Walk, on April 8, 2010
On March 4, 2010, Ricardo Dominguez and other members of Bang Lab participated in the student protests which took place across University of California campuses. The protests were organized to express students’ and faculty’s disagreement with the ongoing fee hikes, budget cuts, and the apparent privatization of the UC system. Dominguez and his collaborators organized a virtual sit-in on the Office of the President website, which was interpreted by school officials as a “Denial of service attack.”
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este libro ha sido editado para poner en circulación quinientas copias facsimilares (treinta y cinco de ellas numeradas y firmadas por el autor) de la _netart latino database_ de brian mackern, adquirida por el meiac el uno de enero de dos mil ocho por noventa y nueve céntimos de euro.
dirección editorial: nilo casares
textos: laura baigorri, giselle beiguelman, nilo casares, brian mackern, lila pagola y gustavo romano
traducción y revisión de textos: polisemia
imágenes: joaquín torres-garcía (pág 32), rafael marchetti (pág 107), brian mackern y los artistas capturados.
diseño: fündc < http://www.fundc.com>
publica: meiac (museo extremeño e iberoamericano de arte contemporáneo)
© consejería de cultura. junta de extremadura
© de los textos, traducciones e imágenes sus autores.
salvo en los casos de lila pagola, con licencia creative commons by sa argentina 2.5, y de nilo casares, cedido al dominio público.
this book was published for the purpose of distributing five hundred facsimile copies (thirty five numbered and signed by the author) of the _netart latino database_ by brian mackern, acquired by the meiac on the first of january, two thousand and eight, at the price of ninety-nine cents (euros).
edited by: nilo casares
texts: laura baigorri, giselle beiguelman, nilo casares, brian mackern, lila pagola y gustavo romano
translation and proof reading: polisemia
images: joaquín torres-garcía (p. 32), rafael marchetti (p. 107), brian mackern and the artists reproduced here.
design: fündc < http://www.fundc.com>
published by: meiac (museo extremeño e iberoamericano de arte contemporáneo)
© regional ministry of culture. regional government of extremadura
© of the texts, translations and images, their authors.
except in the cases of lila pagola, with creative commons licence by sa argentina 2.5, and nilo casares, granted to the public domain.
national book catalogue number: ba-56-2010
copyleft (todos os direitos ao reve’s) nilo casares
life is too short to drink bad wine / la vida es demasiado breve como para beber mal vino / a vida é muito curta para beber vinho mau / la vita è troppo corta per bersi un vino scadente / het leven is te kort om slechte wijn te drinken
beijos em espiral:: besos en espiral:: besades en espiral:: baisers en spirale:: baci a spirale:: spiral kisses :: spiral kyssar:: spiraalzoenen:: pocalunki spiralowe:: muxu kiribilatuak:: kierteisia suukkoja:: spiralni poljupci:: spiralküsse:: spiraal soene
The Netherlands Media Art Institute presents:
Buffalo, New York, 1978, lives and works in Brooklyn, New York (USA)
29 August – 14 November, 2009
opening 28 August 5:00 – 7:00 p.m. with DJ Cinnaman
The Media Art Institute proudly presents the first solo exhibition in The Netherlands by the 31-year-old ‘darling of new media art’, Cory Arcangel (US). Recent films, modified video games and computer installations by the artist will be shown in the context of earlier work.
Cory Arcangel hacks, manipulates and reuses various technological applications, including video games, web software, film and print media. In doing so he comments on digital media technologies and cultures while at the same time continuing to seek the possibilities that present themselves on the cutting edge of humor, theory and technological shortcomings. His interest in technology spans from the vernacular or non-expert to the conscious disrupting of digital techniques. Using techniques common to conceptual art and performance, Arcangel’s work often comments on the relationship between these two.
The Netherlands Media Arts Institute is showing Arcangel’s best known work, ‘Super Mario Clouds’ (2002-). The artist altered a version of the Nintendo game Super Mario Brothers in such a way that only an iconic, bright blue sky with clouds slowly drifting by remained. For the work ‘Structural Film’ (2007) Arcangel used the medium of film, which has been around a much longer time. In this work the iMovie filter that imitates dust and scratches from a time-worn film, called ‘Aged Film’, was applied to a blank image. Arcangel then transferred the resulting quicktime film to 16 mm film, so that the work becomes a contemporary pastiche of Nam June Paik’s ‘Zen for Film’.
Arcangel’s video installation ‘Sweet 16′ (2006), which by now could almost be called a classic, will also be presented. In this work two intros to the Guns N’ Roses video clip ‘Sweet Child O’ Mine’ sometimes run synchronously, and are sometimes totally out of sync. That is because the two videos’ lengths are off by one note. The artist’s love of music also emerges in his latest work ‘Drei Klavierstücke, op. 11′ (2009). In this video Arcangel brings together short YouTube fragments of cats walking on pianos. The artist edited all the separate fragments one note at a time, so that the cats collectively play Schönberg’s ‘op. 11′, a pioneering work of ‘atonal’ music.
Cory Arcangel completed his Bachelor in ‘Technology in Music and Related Arts’ at The Oberlin Conservatory of Music, in Oberlin, Ohio, in 2000. Together with friends from the conservatory, in 1998 the artist set up the programmers’ collective BEIGE. In addition to being an artist, Cory Arcangel is also a musician and performer. At the age of 27, Arcangel already had a solo exhibition in the Migros Museum in Zürich, Switzerland. Since then his work has been shown in group exhibitions in museums all over the world. Arcangel has had shows in commercial galleries in New York (USA), Paris (France), Salzburg (Austria), London (UK), Brussels (Belgium), Geneva (Switzerland), Stockholm (Sweden) and other.
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+31 (0)20 6237101
Netherlands Media Art Institute
1016 EV Amsterdam
Opening hours: Tue t/m Sat and each first Sunday of the month Sunday September 6, October 4, November 1, 1300 – 1800 hrs. Entrance 4,50 (2,50 with discount). Museumkaart free
Please join us in this urgent action in solidarity with the large numbers of Iranian people who have been taking to the streets since June 13, 2009 to claim their right to free and fair elections. This electronic sit-in targets the websites of the Guardian Council, the Interior Ministry, the Presidency of Iran, Ali Khamenei, Hashemi-Rafsanjani, Ahmadinejad and the Islamic Republic of Iran Broadcasting.
* Ahmadinejad must resign immediately.
* All political prisoners, including all of the people who have been arrested on political charges in the past several days must be immediately released.
* A new and independently monitored election must be held.* The list of presidential candidates must be open and free of interference by the Guardian Council.
This action is NOT in support of Mir Hossein Mousavi or other presidential candidates in the 12 June 2009 election. The race for presidential candidacy was itself fundamentally flawed. The Guardian Council, a clerical body overseeing the governance of Iran, rejected 90% of eligible candidates the right to run in the election, leaving only 4 candidates on the list, all of whom are connected to one or other of the factions of the ruling theocracy and should equally be held accountable for the atrocities committed against Iranians over the past 30 years and for the countless social and economic ills that are inflicting the country.
This action is in solidarity with hundreds of thousands of Iranians from diverse social groups and classes who, since Saturday, 13 June 2009, have been defying the official ban on mass rally and taken to the streets in many cities across Iran to voice their anger at seeing their right as citizens to have their votes counted trampled upon in a rigged election.
The Situationist Raoul Vaneigem famously wrote “There are no more artists since we’ve all become artists. Our next work of art is the construction of a full-blooded life.” – The Revolution of Everyday Life.
In this tradition, Class Wargames present two days of making and playing Guy Debord’s The Game of War. Debord, leader of the Situationist International, developed the game while in exile after the May ’68 Revolution, and came to regard it as his most important project. For Debord, The Game of War wasn’t just a game – come and learn how to fight and win against the oppressors of the spectacular society! Join the Class Wargames crew, Richard Barbrook, Fabian Tompsett, Ilze Black and others, in redefining political and contextual territories.
Come along on Saturday to learn the intricacies of the game by making your own board from recycled materials. Then come back on Sunday to play the game and participate in a discussion between political theorist and author Dr. Richard Barbrook of Class Wargames and author and programmer Alex Galloway of RSG, developer of Kriegspeil, a digital version of the Game of War, who will participate online from New York. The discussion will be chaired by Marc Garrett, co-director of Furtherfield.org and HTTP Gallery.
The discussion will be featured in ‘Artists RE:thinking Games’, due to be published in September 2009, compiled and edited by furtherfield.org in collaboration with Fact.co.uk.
Free Entry: Booking Essential
Saturday 16th May 12-5pm
Make your own board from recycled materials and learn the rules.
Sunday 17th May 12-5pm
Play the game and join the discussion with Richard Barkbrook and Alex Galloway
For more information about the event please visit HTTP Gallery website.
To take part in the game please RSVP to ale[AT]furtherfield[DOT]org
Game of War Weekend Schedule:
Day 1 – 12-5pm Saturday 16th May.
12.00 meet and great
12.15 introduction (Fabian/Richard)
12.30 building your own game
15.00 learning to play/ preparing the teams
17.00 day is over
Day 2 – 12-5pm Sunday 17th May.
12.00 meet and great and introduction
13.00 playing the game in team
16:30 Online Discussion – Richard Brabrook & Alex Galloway
17.00 day is over / drinks
The Game of War is a Clausewitz simulator: a Napoleonic-era military strategy game where armies must maintain their communications structure to survive – and where victory is achieved by smashing your opponent’s supply network rather than by taking their pieces. For Debord, The Game of War wasn’t just a game – it was a guide to how people should live their lives within Fordist society. Come learn how to fight and win against the oppressors of spectacular society!
Dr. Richard Barbrook is a senior lecturer in the School of Social Sciences, Humanities and Languages at the University of Westminster. In 2007 he published his study of the political and ideological role of the prophecies of artificial intelligence and the information society: Imaginary Futures. Richard is a trustee of Cybersalon and a founding member of Class Wargames. He is currently carrying out research into the politics of ludic subversion. More info: http://www.imaginaryfutures.net
Alexander R. Galloway is an author and programmer. He is Associate Professor or Media, Art and Communication at New York University; author of Protocol: How Control Exists After Decentralization (MIT, 2004), Gaming: Essays on Algorithmic Culture (Minnesota, 2006), and a new book coauthored with Eugene Thacker called The Exploit: A Theory of Networks (Minnesota, 2007). a founding member of the software collective RSG and creator of the Carnivore and Kriegspiel projects. More info:
Ilze Black is an artist and curator of media arts:
http://www.hivenetworks.net & http://www.take2030.net
Fabian Tompsett, London Psychogeographical Association and author:
Class Wargames are playing Guy Debord’s The Game of War in public using a replica of his original 1977 design for the board game; it is committed to subverting the ideological mechanisms which are used to keep us in line. The Class Wargames players are Dr. Richard Barbrook, University of Westminster; Ilze Black, Waterman’s Art Gallery; Lucy Blake, Software Developer; Mark Copplestone, Copplestone Castings; Rod Dickinson, Artist; Fabian Tompsett, Class War 1985; and Alex Veness, University of the Arts.
Ale, HTTP Gallery
Unit A2, Arena Design Centre
71 Ashfield Road
London N4 1LD