Archive for February, 2010

Orange Trees…

February 24, 2010 Leave a comment

I have just found another one! It’s quite different but really engaging!

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Creative Flows project inspiration

February 24, 2010 Leave a comment

Hi all, after four hours no-stop researching I found an interesting interactive project around audio data visualisation and social networking. Have a look… and hear too!!

aux2mondes is an internet audio work consisting of women’s commentaries that are non-narratively linked in order to create a story based upon the user’s interest and intuition. The project aux2mondes concerns representation but before all “human linkage”. Interviews and soundscape are linked with keywords and the interface traces their progress. This approach–like sound itself–resists the voyeurism inherent in representation and returns the user to her or his own self-interest.

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PVA : MediaLab

February 23, 2010 Leave a comment
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acoustic ecology/soundscape

February 18, 2010 Leave a comment

“We were taught to sit still and enjoy the silence. We were taught to use our organs of smell, to look when apparently there was nothing to see, and to listen intently when all was seemingly quiet.”

Luther Standing Bear
Oglala Dakota

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more awareness

February 10, 2010 Leave a comment

I went in London last week to follow these illuminating conferences on Digital Media. Underneath a brief introduction and useful links. Have a look!

CAT 2010: Ideas before their time : Connecting the past and present in computer art

Computer Art and Technocultures AHRC Project

3 February 2010, London

The symposium ‘Ideas Before Their Time: Connecting the Past and Present in Computer Art’ examines the ideas and technologies of computer-based art. Many intriguing concepts have emerged in computer art over the past 50 years. Some have been brought to light in the archives examined by the Computer Art and Technocultures Project at Birkbeck and the Victoria & Albert Museum. With the current exhibitions of computer art, ‘Decode’ and ‘Digital Pioneers’ ongoing at the V&A, this is a timely look at the area. Speakers from all areas of computer art, including practitioners, curators and historians, discuss the past, present and future of this area.

In conjunction with the Computer Arts Society, the CAT Project

(Computer Art & Technocultures) is presenting a symposium at the

British Computer Society in Covent Garden.

Many intriguing concepts have emerged in Computer Art over the

past 50 years. Some have been brought to light in the archives

examined by the CAT and CACHe Projects. Speakers from all areas

of Computer Art, including practitioners, curators and

historians, will discuss the past, present and future of this


Go to to view the


Speaker: Brian Reffin Smith

Title: Post Computer Art — Ontological Undecidability and the Cat

with Paint on its Paws.

It is argued that an active re-visiting of computer based

artworks from the last 60 or so years is essential to any

progress of today’s work towards an activity that pushes at the

frontiers of contemporary art.

We need to open up the history, works, techniques and discourses

of computer based art to enable a revolution to occur – that of

rendering the art problematic and ‘difficult’: then new solutions

will emerge. It is suggested that whilst conceptual art was busy

doing just this, computer based art was rushing madly in the

opposite direction, trying in a reformist manner to make things

easier, simpler.

Derrida, ‘Pataphysics, Schrödinger’s cat and the living dead may

well be brought into play.

Brian Reffin Smith is a writer, artist, performer and teacher. He

was a pioneer of computer-based conceptual art, with the aim of

trying to resist technological determinism and ‘state of the art’

technology, which might merely produce ‘state of the technology’

art. He is a French civil servant, having been invited to work

for their Ministry of Culture.

Smith, who won the first-ever Prix Ars Electronica, the Golden

Nike, in Linz in 1987, is a Regent of the College of

‘Pataphysics, Paris, holding the Chair of Catachemistry and

Speculative Metallurgy. He is Professeur, École Nationale

Supérieure d’Art, Bourges, France.

Areas of work, research, teaching and performance include the

idea of the philosophical Zombie in art and elsewhere, and the

détournement or ‘hijacking’ of systems, mechanisms, programs etc.

to make art.

He became a Zombie, after a short illness, in 1999.

Thursday 4 & Friday 5 February

10.00-17.30 each day

Decoding the Digital

Hochhauser Auditorium, Sackler Centre, Victoria & Albert Museum

A rare opportunity to hear a dialogue between contemporary

digital practice and historical collections within the world of

digital and computer generated art and design. Speakers include

artist Frieder Nake and writer Edward Shanken, with theorists

Charlie Gere and Beryl Graham. There will be an in-conversation

between Paul Brown and his son Daniel Brown. Other contributors

include the collector Michael Spalter, the writer and artist Anne

Morgan Spalter, plus Louise Shannon (V&A) and Shane Walter

(Director, onedotzero), co-curators of the V&A exhibition Decode,

and Douglas Dodds, one of the curators of the V&A display Digital


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roots of sound art

February 1, 2010 Leave a comment

Luigi Russolo (April 30, 1885 – February 4, 1947) was an Italian Futurist painter and composer, and the author of the manifesto The Art of Noises (1913).[1] He is often regarded as one of the first noise music experimental composers with his performances of “noise concerts” in 1913-14 and then again after World War I, notably in Paris in 1921. He is also one of the first theorists of electronic music.


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