Tuesday, January 25. 2011Une ère conditionnéeVia Libération ----- By Sylvestre Huet Récit - Le glaciologue Claude Lorius démontre que l’homme est devenu un «géo-ingénieur» climatique aussi puissant que les forces géologiques, et annonce l’anthropocène, l’ère de l’homme.
Iceberg dans les eaux antarctiques. (REUTERS) - More about this book, Claude Lorius and the Anthropocene directly on Libération.
Related Links:Personal comment:
Anthropocene is a word we hear more and more about. It probably just gives a name to what we all observe everyday: that our environment is getting more an more artificial, conditioned at a global scale with ecological costs.
Posted by Patrick Keller
in Culture & society, Science & technology, Territory
at
12:33
Defined tags for this entry: artificial reality, books, climate, conditioning, culture & society, geography, science & technology, sustainability, territory, theory
Monday, January 24. 2011Tracing Mobility – Cartography and Migration in Networked Space [Berlin]-----
Tracing Mobility – Cartography and Migration in Networked Space @ transmediale, Neu Bar, Greifswalder Str. 218, Berlin :: January 30 — Call for Ideas. Following events in the UK, Warsaw and the Croatian coast in 2010, Trampoline will present the exhibition, Tracing Mobility – Cartography and Migration in Networked Space, at the Haus der Kulturen der Welt in November 2011, alongside an open platform of ideas. The opportunity starts now. On January 30th, during Transmediale’s ‘DAS Weekend’, we invite you to pitch your idea in an informal manner over a drink at Neu Bar. The ‘pitch’ can take the form of a presentation, performance or simply a chat with us. Get in touch with us asap to book a slot or to request further information. Tracing Mobility is a project that sets out to examine the shifting terrain of global versus individual mobility and how the hand in hand development with networked infrastructure is transforming our conceptions of time, space and distance. In the expectation that many interesting projects and speakers on the theme exist already, we intend to provide a space to encourage spontaneous, ad hoc input from the floor from cultural sectors that are outside our usual scrutiny. Towards this, the curators are inviting artists, cultural practitioners, researchers, NGO’s and the interested public to contribute to the Tracing Mobility Open Platform in the form of presentations, interventions, performances, workshops, or any other activity responding to the theme. Contact info [at] trampoline-berlin.de
Mapping Maciunas and Exercise-----
Harry Stendhal Presents: ‘Mapping Maciunas’ and ‘Exercise’ :: February 3-26, 2011 :: Opening Reception: February 3; 6:00 - 9:00 pm :: Stendhal Gallery, 545 W20th, New York, New York. The exhibitions Mapping Maciunas and Exercise both examine the work of Fluxus artist, George Maciunas, who blended his education in architecture, graphic design and musicology to produce new ways of thinking about the state of contemporary society. Throughout his life, Maciunas prided himself in the creation of ‘learning machines,’ charts and diagrams to find precedents, clarify and advance the experimental art of his time. ‘Mapping Maciunas,’ exhibits various charts and diagrams relating not only to Fluxus and the avant-garde but to history and arts education. The documentation of Fluxus personalities and events lead to the creation of Maciunas’ ‘Diagram of Historical Development of Fluxus’ (1973), arguably a masterwork, which posits Fluxus in a continuum of radical art history brought center stage by Dada, Marcel Duchamp and John Cage. Setting his sights on more practical matters, Maciunas undertook a 1968-1969 grant supported by the Carnegie Corporation of New York to improve arts education in the United States. His research for ‘Proposals for Art Education,’ resulted in a series of charts and diagrams including ‘Contemporary Man’ and a ‘Curriculum Plan’ for both art majors and non-major programs. Just as Maciunas’s charts connect strains in historical movements rather then simply depicting history as a precession of events, ‘Exercise’ takes an approach to understanding Fluxus, finding the forebears of Fluxus attitude not simply in Dada or other avant-garde movements in relation to which Fluxus is often contextualized, whether it be pre-Socratic philosopher and believer in ‘universal flux’ Heraclitus, or fourteenth century philosopher and originator of the Ockham’s Razor principle William of Ockham, ‘Exercise’ alleges that the Fluxus attitude long predates Fluxus, George Maciunas, or Duchamp. On display in ‘Exercise,’ is an installation inspired by Maciunas’s charts tracing the Fluxus attitude. Alongside this installation are Fluxus artworks by George Brecht, La Monte Young, Chieko Shiomi, Yoko Ono, Ken Friedman, Hans Richter, Giussepe Chiari, Nam Jun Paik, Robert Filliou and other artists who embody this attitude by using the concision of a haiku or a punch line to rupture our epistemological categories and encourage us to create our own. Juxtaposed with these works are artworks by David Bernstein, John Robert Moore, Nicole Demby, Narumi Iyama and Harry Stendhal, conceptual exercises that use Fluxus an a template for making one’s own templates. The opening of the exhibitions will feature a performance by David Bernstein. This exhibition has been produced and organized by Harry Stendhal and sponsored by George Maciunas Foundation Inc. a 501 (c)(3) tax exempt non-for-profit arts organization.
Wednesday, January 19. 2011www.fabric.ch updated
By fabric | ch ----- This might be the result of our New Year's resolutions... We've just updated fabric | ch's website with our latest projects! It's been two years since we didn't really find time to upgrade the site with a selection of new projects! So, well... at least here are the new pdfs, images and short texts about I-Weather as Deep Space Public Lighting, Arctic Opening, Daylight, Jours Migrants, etc.
Related Links:Middle: Out of SightVia Frieze blog ----- The legacy of Guy Debord and the connections between terrorist strategies, the networked 21st century and historical avant-gardes One of the most controversial comments made after 9/11 came from the avant-garde composer Karlheinz Stockhausen, who told a journalist in Hamburg that the attack was ‘the greatest work of art that is possible in the whole cosmos’. His comments caused uproar in Germany, where the association of art with political violence obviously raises troubling historical spectres. Whether or not Stockhausen was right to equate terrorism with art – and it would be disingenuous to deny the conceptual violence of his analogy, which he himself quickly recognized and sought to dampen – his comments point to an uncomfortable truth: for more than a century now, artists and terrorists have shared a common intention to produce reactions of shock in the spectator – in other words, to produce a spectacle. One need only think of the Futurists’ politics, or recall how the Iraq War was initially billed as a spectacle of ‘shock and awe’. Indeed, it is tempting to say that the past decade’s war on terror was a war of terror, in which violence and its mediatized exhibition fused to into one another and become two faces of a single aesthetico-political instrument deployed by states and ‘non-state actors’ alike. It is tempting to describe the ongoing global conflict as the outbreak of the first genuinely avant-garde war, one in which Modernist negation is efficiently integrated into a four-dimensional technological mediasphere conflict that is, to use the lingo du jour, viral.
1 Thomas Crow, ‘Modernism and Mass Culture in the Visual Arts,’ in Modern Art in the Common Culture (New Haven: Yale University Press, 1996), p.35 Saul Anton
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fabric | rblgThis blog is the survey website of fabric | ch - studio for architecture, interaction and research. We curate and reblog articles, researches, writings, exhibitions and projects that we notice and find interesting during our everyday practice and readings. Most articles concern the intertwined fields of architecture, territory, art, interaction design, thinking and science. From time to time, we also publish documentation about our own work and research, immersed among these related resources and inspirations. This website is used by fabric | ch as archive, references and resources. It is shared with all those interested in the same topics as we are, in the hope that they will also find valuable references and content in it.
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