CLUB AUTO

CLUB AUTOMATIC (CA) events are multi-layered live performances. The layers – for example vision and sound – are tuned and twisted by technique and choreography. Technique links all actives – including the audience. Choreography gives the basic timing and sets the ‘hot spots’.
Accordingly, CA events function like an interactive program rather than a stage-production. They integrate all circumstances – people as spaces; some in its pre-setting, some during the course of the happening. Just like the clubs we know, CA is a system made for (inter)active moments. But here it is not only the ones allowed through human commitment, but also those triggered by machines. The result of it shows you – spectator, guest and participant – and your commitment, in the mix.

self evolving participatory environment
by Egon March Institute & partner productions
Monday, January 26, 21.00
Studio Martina Schumacher & Joulia Strauss
in Ullsteinhaus, entrance B, 6th floor
U-bahn 6, Ullsteinstrasse
Mariendorfer Damm 1-3, 12099 Berlin
http://web.mac.com/marchegon/electropera/parahouse.html

At Ostranenia festival at Bauhaus in 1997, an international group of artists joined their forces to live and work for a month in a cultural center K.I.E.Z. in Dessau. They wired the house with cameras, sensors and screens for on the fly generation and reintepretaion of video and audio. The audience in the bar, the dancer in the theatre and the passangers of the 4 floor stairs were interacting in the creation of permananet video and audio netcast announcing "the future" of media instrumentalism. 12 years later the same artists and their guests are coming together to discover how their visions from the past are relating to the future.

Parahouse at Ostranenie 97, the original preparation web page:
http://www.iflugs.hdk-berlin.de/parahouse/
http://www.unitvnetwork.org/parahouse.html
Documentary video at YouTube:
http://www.youtube.com/watch?v=tE0TiZJxvlM
x-op conference in Berlin http://www.mediainmotion.de/x-op/index_x-op.html

FREE KNOWLEDGE MARKET

FREE KNOWLEDGE MARKET Thursday 29th of January from 3-8 PM
KUNSTRAUM KREUZBERG BETHANIEN
Mariannenplatz 2

During CTM.09, barcelona based collective Platoniq is setting-up a Free-Knowledge-Market, where everyone is inviting to share his/her practical and theoretical knowledge on any and all subjects, from organising skills to handcrafts or technology and civil rights, from first-hand experiences to expert reports. We are of course open to LAST MINUTE OFFERS and INFORMAL MEETINGS as part of the market!

Input / contributions to Free Knowledge Market are recorded and documented online as so-called "free knowledge capsules". Thus, the proje... [Read more]

DIGITAL SPIRIT

Digital art determines a new aesthetics of essentially informational nature that demands and requires the redefinition of what is art as a whole. Such an aesthetics cannot be but a continuous construction since it is permanently linked to the progress of information technologies.
Digital arts are therefore shifting the field of phenomenological aesthetics of the « being-work » as an absolute presence towards that of the technological aesthetics of the work of art as a process and a strong digitspirit interaction between the objective (the matricial and techno-scientific aspect) and the subjective (the singular artist and his personal history, his ‘vision’ of the world, of society, of human being) and the cultural (social models and representations of what art is in a given period in a given place ; that is our techno-informational era of networks and generalized IT).
The aesthetics of digital arts calls now more than ever before for the construction of a broad conception of aesthetics that sets in dynamic relation, and even in digitspirit synergy, the various languages proposed by all the fields of cognitive life, given that these languages are inserted into the ramified, arborescent society of information and communication. The aesthetics of digital arts is bound to develop within the interconnection and better still within the hybrid crossover of those mutiple languages that don’t care to define « what is » per se a work of art, not even for a singular subject alone, but rather to endeavour to explicate the emergence of the collective and individual comprehension patterns of the aesthetic function played by digital spirit art at the present time.
www.unitvnetwork.org

www.laspirale.org
« Par-delà les forêts et les marais, le crépuscule résonne des cris d'agonie du Tyrannosaurus Rex. »

Prévue dès le mois de février 2008, à l'heure où fut lancé le chantier de rénovation de La Spirale, cette première édition thématique consacrée au chaos n'aurait pu être plus en lien avec l'actualité que dans le contexte social, économique et géopolitique actuel.
De sa mise à feu à l'automne 1996 jusqu'à son arrêt en 2005, La Spirale fut le témoin involontaire de la fin d'un monde. Les quinze dernières années ont été le théâtre d’une déconstruction quasi complète de nos fondamentaux. Face à un avenir de plus en plus imprévisible, un sentiment général d’inquiétude a gagné toutes les strates de nos sociétés. De plus en plus de gens ont peur du futur.

Aujourd’hui, iI ne suffit plus de se situer dans une dynamique de contestation nihiliste et/ou de dénonciation dépressive. Nous ne pouvons plus nous satisfaire d’une esthétique basée sur une déconstruction devenue l'apanage d'élites prédatrices avec les conséquences que l'on découvre aujourd'hui. Nous devons refuser les dystopies dont on entend nous gaver, retrouver l’envie de croire en des lendemains qui chantent. Nous devons nous réapproprier notre futur car la suite de l'aventure dépendra de notre seule capacité à réagir.
flux RSS

CODE PUBLIC was the live performance group for the activities of FRIGO: music, performance, theater. It was a mobile group , able to perfom quickly on a given situation and to reflect, to permanently reactualize the general concept of the spectacle. CODE PUBLIC appeared as the reflexion space, the centralizing structure, the"quintessence" of the research undertaken by FRIGO. Human and philosophical base, the first spot of CODE PUBLIC was to consider and arrange the future of the group. http://www.unitvnetwork.org/codepublic_en.html

Interview with Karel Dudesek (Van Gogh TV)
February 28th, 2008 · No Comments
Van Gogh TV - “Piazza Virtuale”, The audience is the artist.

Q: How has Interactive TV changed since your first television experiments as Van Gogh TV, and especially Piazza Virtuale in 1992? What do you think is the significance of your early pioneering work?

A: Interactive TV, like we introduced working as Van Gogh TV, has not been adopted by mainstream television. The iTV projects of the entertainment industry are torn between viewer numbers, production costs, legal obstacles, and therefore commercial viability. In my view, iTV lost out on the potential to give a whole new role to TV
audiences, to participate and contribute to an ongoing process of developing the media, and to create real community media. Today iTV is more or less video and advertising on demand, and appears to be waiting for the next technological generation of the internet(iptv), as well as hoping for significant hardware and software developments.

The project “Piazza Virtuale” exhausted the technical and experimental interactive media possibilities which existed in 1992, and which have not changed much even now. Yes, one huge advance is that we now have mobile phones which can create video sequences, and they can be sent directly to a broadcaster and seen immediately on TV. But, the variety of modules which Van Gogh TV developed, like chat systems, video and ISDN phones, and cameras in public entry points have only partially found their way into commercial broadcasting shows of today.

Van Gogh TV ‘s most important development was its radical multi-framing of images, and the multi-layering of inputs (including sound and text) which is a significant marker historically, and the inspiration for research and understanding about how multiple screen information can be read and consumed by viewers. The Piazza Virtuale broadcast was a patchwork of incoming information: faxes, text messages, videos, pictures, sounds, noises and voices which created a vivid surface, one that clearly visualized an invisible cloud of information and the massive amount of content and information which surrounds us all, permanently. Someone referred to this broadcast cacophony as electronic wallpaper. The segmented screen design made only a slight impact on broadcast formats, but was quickly absorbed by early internet applications, in the 1990s....

Karel Dudesek
...more about