FM-Scenario – The Listener’s Voice :: June 22 – August 4, 2013 :: ZKM | Center for Art and Media, Lorenzstrasse 19, 76135 Karlsruhe, Germany.

The inter-media project FM-Scenario – The Listener’s Voice uses the Internet as a production site for generating content for further media – more specifically: radio stations, exhibitions and publications. The project’s starting point comprises Eran Schaerf’s news radio plays from the years 1997 to 2011, as well as new texts. The Listener’s Voice (2002), a fictitious radio station, moderated by a computer program is exemplary of Eran Schaerf’s news radio plays. Here, Schaerf uses the newscast format in order to indicate the relativity of its objectivity claim: newscasts not only describe apparent facts, but allow such coverage to be one narrative account among many. Continue reading

1 Have You Been Here Before 2 No This Is The First Time — A Performance Lecture With Director and Artist Robert Wilson :: October 29, 2012; 7:00 pm :: Littlefield Concert Hall, Mills College, 5000 MacArthur Blvd, Oakland, CA.

Presented by the Technology and Society Lecture Series & the Intermedia Arts Program of Mills College, the world-renowned director will reference his original works for the stage such as Deafman Glance, A Letter for Queen Victoria, Einstein on the Beach (created with composer Philip Glass), the CIVIL warS, and The Black Rider, as well as his acclaimed work for operatic and theatrical repertoire including his luminous stagings of Madame Butterly, Wagner’s Ring Cycle, The Magic Flute, Ibsen’s Peer Gynt and Heiner Mueller’s Quartett. Continue reading

Transmittance #2 – Telepresence Performance :: December 13, 2011; 8:00 pm (CET) :: http://transmittance.si ( Online audience can watch and interact with the performance live using a recent version of popular browser like Firefox or Chrome) & Tobacco 001 Cultural Centre, Ljubljana, Slovenia.

Transmittance explores collaboration which is local, global, networked and broadcasted. It involves an artistic group of performers, visual artists, musicians and computer programmers to research performative possibilities of streaming, broadcasting and telepresence forging new types of performance and audience. With focus on critical and socially-aware artistic languages this work is based on asking questions about body, self and society – opening non-dualistic perspectives. Continue reading

The Departments of Intermedia and Fine Art Theory and Curatorial Studies of the Hungarian University of Fine Arts initiate the seminars Mapping the Local and Site Specific Interventions in Public Space :: Hungarian University of Fine Arts, Andrássy út 69-71, 1062 Budapest, Hungary.

Mapping the Local presents an overview of the major phenomena, trends and issues of contemporary art based on various subjects in each semester; a special emphasis will be placed on the East European region, in the form of seminars, presentations held by invited lecturers, field trips to museums, institutions and artist studios. The course is primarily directed towards Erasmus students as well as local students of the Intermedia and Fine Art Theory and Curatorial Studies departments. Continue reading

[The Post Reality Show by Randall Packer] ISEA Istanbul presents Interart|Intersensorium. On the Interrelation of Media and the Senses — Chair Per­sons: Dr. Anke Fin­ger, Dr. Chris­tiane Heibach; Pre­sen­ters: Chris­tiane Heibach, Ran­dall Packer, Cre­tien van Campen, Semir Zeki, Bir­git Mers­mann :: Sep­tem­ber 20, 2011; Session 1: 9:00 – 10:30 am Session 2: 1:00 -2:30 pm :: Sa­banci Cen­ter Room 3, Sa­banci Cen­ter, Lev­ent.

This panel, then, seeks to push this area fur­ther, par­tic­u­larly em­pha­siz­ing the role of media and me­di­al­iza­tion: Brian Mas­sumi’s and Mark Hansen’s work, for ex­am­ple, de­spite its sig­nif­i­cance, con­tin­ues to em­ploy an un­dif­fer­en­ti­ated no­tion of “em­bod­i­ment“ to de­scribe in­ter­sen­so­r­ial per­cep­tion. Continue reading

The School of Art at The Cooper Union and Danspace Project present Deborah Hay: A Lecture on the Performance of Beauty :: March 24, 2010; 7:00 pm :: The Great Hall, The Cooper Union, 7 East 7th Street, NYC :: Free admission.

A Lecture on the Performance of Beauty is a performative talk framed around the question “can a formal and stimulating adherence to a prescribed set of hypothetical conditions be seen as choreography even if there is no learned movement?” Hay was a member of a group of experimental artists that was deeply influenced by Merce Cunningham and John Cage. The group, later known as the Judson Dance Theater, became one of the most radical and explosive 20th century art movements. Her ground breaking research and performances continue to influence new generations of artists throughout the world today. Continue reading

Fibreculture Journal # 15: What Now? The Imprecise and Disagreeable Aesthetics of Remix :: From the Editorial:

It became a minor phenomenon during 2007. By September 2009 it was a virus out of control. Described in Wired as a “popular internet meme” (Wortham, 2008), the obsessive serial mash-up of a key sequence from Oliver Hirschbiegel’s 2004 film of the last days of Adolf Hitler, Der Untergang (The Downfall), is suggestive of the cultural logic of the contemporary formation known as remix. Remix culture is comprised of what could loosely be termed amateurs and professionals engaged in the practice of creatively re-using found material. The distinction is useful in identifying the aesthetic and material differences between dedicated intermedia remix artists (Negativland, Martin Arnold, Craig Baldwin, Soda_Jerk), artists who incorporate elements of remix into a broader audiovisual practice (Philip Brophy, Candice Breitz, Christian Marclay, John Zorn) and the vernacular audio-visual mash-up/remake/dub/scratch aesthetics associated with a broad range of online practices. Continue reading

Claiming Its Space: Machinima by Michael Nitsche, Dichtung-Digital #37, 2007:

ABSTRACT: Although machinima has grown exponentially, it remains a largely undefined digital artistic practice in-between existing traditions. Machinima makers freely sample/ combine/ and break elements of traditional media. They “play” their references. This essay does not attempt to fix machinima to any single definition but will identify the intermedia relations to better position machinima into the digital media landscape. The argument will target three main influences: film, television, and theatrical performance. To exemplify these points the essay will discuss exemplary and relevant machinima pieces. It puts emphasis on the real-time aspects in production and play back to highlight the key specifics of this relatively new format.

Let Us Imagine a Straight Line by Joseph Butch Rovan, featuring dancer Ami Shulman — A multi-movement intermedia project for interactive image, sound, and performance — one in a series of Studies in Movement :: October 17 – November 8, 2009 :: Opening: October 16; 5:00 pm :: Digital Humanites Lab (lower floor), Cogut Center for the Humanities, Pembroke Hall, 172 Meeting Street, Providence, RI.

Studies in Movement is a series of intermedia études based in part on the unique visual legacy of the great French physiologist Étienne-Jules Marey (1830-1904). From his pioneering work with graphical recording devices to his work with stop-action photography, Marey sought to break down locomotion in order to learn how humans and animals moved in the natural world. Continue reading

Hyde Park Visual History Project – Project Premiere :: October 17, 2009; 8:00 – 11:00 pm :: Hyde Park Drive In – Route 9 – Hyde Park, NY.

The Hyde Park Visual History Project, developed by artist Matthew Slaats, is a community centered artistic project that engages the elaborate evolution of the local landscape and its inhabitants through images and sound.

Conceived as a public art installation, the Hyde Park Visual History Project serves as a dynamic meeting point for the community, the arts, and the history of Hyde Park, New York. By gathering visual and auditory material from local residents, the project uses a community centered approach to understanding the complexity of context in America. Continue reading