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| node: | 31.01.2009-19:44:34 |
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| parent: | net-cultures |
| owner: | dusanson |
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| created: | 31.01.2009 - 19:44:34 |
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| system: | public |
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INTERVIEW SERIES:
RE: NETWORKED E-MAIL-CONVERSATIONS
-
RE:INTERVIEW #008
A Practice without Discipline | Networked Cultures
In 2005 Peter Mörtenböck and Helge Mooshammer initiated the Networked Cultures project, a research platform on the potential of translocally networked spatial practices. Interviews, exhibitions, films and presentations are the many forms they collaborate on architecture, art and theory projects and investigate urban network processes, spaces of geocultural crises, and forms of cultural participation and self-determination. In RE:INTERVIEW #008 Peter Mörtenböck and Helge Mooshammer talk about the network as “the digital age’s ubiquitous object of desire”, the presentational form of socio-politically engaged creative projects and their own creative processes, defined as a “practice without discipline”.
-
RE:INTERVIEW #007
Technological Mimesis | Marius Watz
Colourful explosions of organic forms, visual structures that can only be percieved when the spectator allows herself to enter the flow of contemplative effects one has got viewing the artworks: generative practices have first been developed at the intersection of scientific and artistic settings to research visual patterns and form. RE:INTERVIEW #007 deals with nowadays generative systems which are used by artists, as well as in Design, Architecture and the culture of everyday life. Marius Watz, an artist concerned with generative systems for creating visual form, still, animated, or realtime, argues in the following interview: “One of the privileges of Generative Art is that the author can easily be surprised by her own creation.”
-
RE:INTERVIEW #006
Undecisive Contexts | Mark E. Grimm
The net establishes its significance as artistic medium no longer in specialised communities but has become dispersed more and more into contexts commonly assigned to the “classical” art business. Issue #006 of the RE:INTERVIEW series deals with the artistic work of Mark E. Grimm which — covering different contexts evaluated by conventional criteria — could be considered as undecisive. The collaborative work in and outside the net, the study of the working processes and the transfer of net-related working methods into real life are all practices deliberately dealt with as artistic statements but rarely leave material-related marks. Perhaps we observe here the reversal of the 90’ s Californian Ideology and its “Second Life”: the reality is not subordinated to the net but the net turns with its constant use into a part of the reality.
-
RE:INTERVIEW #005
Versatile M[c]o[mmunication]dality | Mary-Anne Breeze (mez)
mez, netwurker, data[h!]bleeder, ms post modemism, mezflesque.exe, ova.kill, net.w][ho][urker, Purrsonal Areah Netwurker, Phonet][r][ix ... The pseudomyms of the Australian Internet artist Mary-Anne Breeze are as multifaceted and multilayered as is her artistic work. In issue #005 of the RE:INTERVIEW series Mary-Anne Breeze talks about her own language of artistic creation called mezangelle which is composed by the playful use of aspects of form and content like orthography, semantics and punctuation and mixed with the hybrid use of segmented code and programming languages, Internet-slang and literary texts. In her own words, her works r never really finished; they kinda hang together in a faux_fixed state, rdy.4.the.next.incarnation.
-
RE:INTERVIEW #004
Literature — Curating Ambiguity | Scott Rettberg
In autumn 2006 the Electronic Literature Organization (ELO) released the Electronic Literature Collection Volume One, including selected works in New Media forms such as Hypertext Fiction, Kinetic Poetry, generative and combinatory forms, Network Writing, Codework, 3D, and Narrative Animations. One of the main common characteristics of Web-based literary products is that they often can be read (or viewed, listened, played with, used) in multifaceted ways. Accordingly the curation of Electronic Literature is challenged by ambiguity and heterogeneity on different levels. In RE:INTERVIEW #004 Scott Rettberg — co-curator of the anthology and co-founder of the ELO — talks about different ways of contextualising, re-presenting and archiving E-Literature: The more context, the more documentation available to the reader, the better.
-
RE:INTERVIEW #003
Live Cinema — Language and Elements | Mia Makela (solu)
Depending on how you set the boundaries, Live Cinema could be anything — from the visuals of the VJ in the club last night to sophisticated realtime performances based on complex interaction between musicians and visual artists at renowned festivals. Generally it may be defined as a recently coined term for realtime audiovisual performances. In issue #003 of the RE:INTERVIEW series, Mia Makela (aka SOLU) — an active Live Cinema performer — talks about her thesis with the title Live Cinema: Language and Elements investigating the principles of this genre.
-
RE:INTERVIEW #002
The Big Book (C)rime | UBERMORGEN, Alessandro Ludovico & Paolo Cirio
About one year after the release of “Google Will Eat Itself” the artists Paolo Cirio, Alessandro Ludovico, Hans Bernhard and Lizvlx (both UBERMORGEN.COM) foxed out Amazon.com, the second global Internet player. The results of the Media Art-event Amazon Noir — The Big Book Crime were presented on the 15th of November 2006. Issue #002 of the RE:INTERVIEW series deals with the actual discussion of property rights for non-material goods and their use/violation by new technologies on the Internet as well as it deals with the call of the Open-Source-movement for the free flow of information is opposite to law systems which neither work in a standardised way nor on a global level.
-
RE:INTERVIEW #001
Possibilities in Locative Media | Jeremy Hight
RE:INTERVIEW #001 deals with the phenomenon of Locative Media — recently becoming more popular in Media Art discourses — which has roots dating back to the dawn of history. Early myths like the Epic of Gilgamesh or — more specific — Homer’s Odyssee deal with issues of location and the recording of movement on earth’s surface. Developments since then include mediaeval cartography as well as the Situationists’ approach to mapping a city. Nowadays Locative Media uses technology to trigger artworks in a specific physical space. Jeremy Hight is one of the artists behind “34 North 118 West” — the first locative narrative — and author of “Narrative Archaeology: Reading the Landscape”, a text that was recently named one of the four primary texts in locative media in Leonardo, the renowned online journal of the Massachusetts Institute of Technology (MIT).
http://cont3xt.net/blog/?page_id=236
RE: NETWORKED E-MAIL-CONVERSATIONS
-
RE:INTERVIEW #008
A Practice without Discipline | Networked Cultures
In 2005 Peter Mörtenböck and Helge Mooshammer initiated the Networked Cultures project, a research platform on the potential of translocally networked spatial practices. Interviews, exhibitions, films and presentations are the many forms they collaborate on architecture, art and theory projects and investigate urban network processes, spaces of geocultural crises, and forms of cultural participation and self-determination. In RE:INTERVIEW #008 Peter Mörtenböck and Helge Mooshammer talk about the network as “the digital age’s ubiquitous object of desire”, the presentational form of socio-politically engaged creative projects and their own creative processes, defined as a “practice without discipline”.
-
RE:INTERVIEW #007
Technological Mimesis | Marius Watz
Colourful explosions of organic forms, visual structures that can only be percieved when the spectator allows herself to enter the flow of contemplative effects one has got viewing the artworks: generative practices have first been developed at the intersection of scientific and artistic settings to research visual patterns and form. RE:INTERVIEW #007 deals with nowadays generative systems which are used by artists, as well as in Design, Architecture and the culture of everyday life. Marius Watz, an artist concerned with generative systems for creating visual form, still, animated, or realtime, argues in the following interview: “One of the privileges of Generative Art is that the author can easily be surprised by her own creation.”
-
RE:INTERVIEW #006
Undecisive Contexts | Mark E. Grimm
The net establishes its significance as artistic medium no longer in specialised communities but has become dispersed more and more into contexts commonly assigned to the “classical” art business. Issue #006 of the RE:INTERVIEW series deals with the artistic work of Mark E. Grimm which — covering different contexts evaluated by conventional criteria — could be considered as undecisive. The collaborative work in and outside the net, the study of the working processes and the transfer of net-related working methods into real life are all practices deliberately dealt with as artistic statements but rarely leave material-related marks. Perhaps we observe here the reversal of the 90’ s Californian Ideology and its “Second Life”: the reality is not subordinated to the net but the net turns with its constant use into a part of the reality.
-
RE:INTERVIEW #005
Versatile M[c]o[mmunication]dality | Mary-Anne Breeze (mez)
mez, netwurker, data[h!]bleeder, ms post modemism, mezflesque.exe, ova.kill, net.w][ho][urker, Purrsonal Areah Netwurker, Phonet][r][ix ... The pseudomyms of the Australian Internet artist Mary-Anne Breeze are as multifaceted and multilayered as is her artistic work. In issue #005 of the RE:INTERVIEW series Mary-Anne Breeze talks about her own language of artistic creation called mezangelle which is composed by the playful use of aspects of form and content like orthography, semantics and punctuation and mixed with the hybrid use of segmented code and programming languages, Internet-slang and literary texts. In her own words, her works r never really finished; they kinda hang together in a faux_fixed state, rdy.4.the.next.incarnation.
-
RE:INTERVIEW #004
Literature — Curating Ambiguity | Scott Rettberg
In autumn 2006 the Electronic Literature Organization (ELO) released the Electronic Literature Collection Volume One, including selected works in New Media forms such as Hypertext Fiction, Kinetic Poetry, generative and combinatory forms, Network Writing, Codework, 3D, and Narrative Animations. One of the main common characteristics of Web-based literary products is that they often can be read (or viewed, listened, played with, used) in multifaceted ways. Accordingly the curation of Electronic Literature is challenged by ambiguity and heterogeneity on different levels. In RE:INTERVIEW #004 Scott Rettberg — co-curator of the anthology and co-founder of the ELO — talks about different ways of contextualising, re-presenting and archiving E-Literature: The more context, the more documentation available to the reader, the better.
-
RE:INTERVIEW #003
Live Cinema — Language and Elements | Mia Makela (solu)
Depending on how you set the boundaries, Live Cinema could be anything — from the visuals of the VJ in the club last night to sophisticated realtime performances based on complex interaction between musicians and visual artists at renowned festivals. Generally it may be defined as a recently coined term for realtime audiovisual performances. In issue #003 of the RE:INTERVIEW series, Mia Makela (aka SOLU) — an active Live Cinema performer — talks about her thesis with the title Live Cinema: Language and Elements investigating the principles of this genre.
-
RE:INTERVIEW #002
The Big Book (C)rime | UBERMORGEN, Alessandro Ludovico & Paolo Cirio
About one year after the release of “Google Will Eat Itself” the artists Paolo Cirio, Alessandro Ludovico, Hans Bernhard and Lizvlx (both UBERMORGEN.COM) foxed out Amazon.com, the second global Internet player. The results of the Media Art-event Amazon Noir — The Big Book Crime were presented on the 15th of November 2006. Issue #002 of the RE:INTERVIEW series deals with the actual discussion of property rights for non-material goods and their use/violation by new technologies on the Internet as well as it deals with the call of the Open-Source-movement for the free flow of information is opposite to law systems which neither work in a standardised way nor on a global level.
-
RE:INTERVIEW #001
Possibilities in Locative Media | Jeremy Hight
RE:INTERVIEW #001 deals with the phenomenon of Locative Media — recently becoming more popular in Media Art discourses — which has roots dating back to the dawn of history. Early myths like the Epic of Gilgamesh or — more specific — Homer’s Odyssee deal with issues of location and the recording of movement on earth’s surface. Developments since then include mediaeval cartography as well as the Situationists’ approach to mapping a city. Nowadays Locative Media uses technology to trigger artworks in a specific physical space. Jeremy Hight is one of the artists behind “34 North 118 West” — the first locative narrative — and author of “Narrative Archaeology: Reading the Landscape”, a text that was recently named one of the four primary texts in locative media in Leonardo, the renowned online journal of the Massachusetts Institute of Technology (MIT).
http://cont3xt.net/blog/?page_id=236