Anarchy Dance Theatre + UltraCombos
安娜琪舞蹈劇場 + 叁式
Nov. 2011, TAIWAN.
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Choreograph by Chieh-hua Hsieh
AnarchyDanceTheatre@gmail.com
This piece is still under progress. Premiere on Nov. 2012, TAIWAN.
Seventh Sense (Excerpt) / 第七感官 (五分鐘版)
January 28, 20129/11 as ART
January 27, 2012THE GAMBIT OF THIS EXHIBITION about 9/11, which includes sixty-nine works by forty-two artists, is deceptively simple: to eschew any images of the attacks and any made in response to them. (As if to prove the rule, there is one exception, a 2003 proposal by Ellsworth Kelly to reconfigure Ground Zero as a giant trapezoidal park of bright green grass.) Instead, MoMA PS1 curator Peter Eleey writes in his brochure, “this exhibition considers the ways in which 9/11 has altered how we see and experience the world in its wake.” This is a strong thesis—one that asks to be taken seriously. As for the ban on images of 9/11, Eleey regards the attacks as an intervention in spectacle that was a spectacle in its own right: 9/11 “was made to be used,” he argues, with the Bush administration no less than Al Qaeda in mind. “Why would I want to repeat such transgression?” His catalog essay begins with an epigraph from Wittgenstein—“A picture held us captive”—and his purported aim is to release us from this captivity, to despectacularize 9/11, a little.
Written by Hal Foster, ART FORUM. Continue HERE
View of “September 11,” 2011. Foreground: Christo, Red Package, 1968. Background, from left: Barbara Kruger, Untitled (Questions), 1991; Willem de Rooij, Index: Riots, Protest, Mourning and Commemoration (as represented in newspapers, January 2000–July 2002), 2003. Photo: Matthew Septimus.
Ancient Astronomers Were No Fools
January 27, 2012
There’s no doubt ancient astronomers were clever folk. Realizing Earth was round, estimating the Sun’s distance, discovering heliocentricity — it’s quite a list. But Brad Schaefer (Louisiana State University) suggested at the recent American Astronomical Society meeting in Austin that we should add another light bulb to the glow shining from history: ancient astronomers may have corrected for dimming caused by the atmosphere, centuries before anyone came up with a physical model for it.
This dimming is called atmospheric extinction. Extinction happens because starlight has to pass through Earth’s atmosphere in order to reach us. But the effect isn’t uniform: if you spend time stargazing you’ve probably noticed that a star high up in the sky’s dome looks brighter than it does as it slides toward the horizon. That’s because light coming to us from near the horizon passes through more atmosphere than if it shines straight down from overhead. (The Sun looks redder at sunset and sunrise for the same reason.)
Astronomers have cataloged stars’ magnitudes for at least two millennia, all the way back to an ancient document called the Almagest. It was the Almagest that Schaefer began with — but his goal wasn’t to determine if astronomers in olden days accounted for extinction. He wanted to use the brightnesses reported in it to decide a long-standing debate over who wrote the catalog in the first place, Hipparchus of Rhodes (circa 150 BC) or Ptolemy of Alexandria (circa AD 150).
Written by Camille Carlisle, SKY & Telescope. Continue HERE
Image above: Frontispiece illustration from a Venetian 1496 edition of the Almagest, depicting Ptolemy instructing the 15th-century astronomer Regiomontanus (also known as Johannes Müller von Königsberg). Above the men is the zodiac, encircling the celestial sphere. Zachariel / Wikimedia Commons
The Power of Introverts: A Manifesto for Quiet Brilliance
January 27, 2012
Author Susan Cain explains the fallacy of “groupwork,” and points to research showing that it can reduce creativity and productivity.
Do you enjoy having time to yourself, but always feel a little guilty about it? Then Susan Cain’s “Quiet : The Power of Introverts” is for you. It’s part book, part manifesto. We live in a nation that values its extroverts – the outgoing, the lovers of crowds – but not the quiet types who change the world. She recently answered questions from Mind Matters editor Gareth Cook.
Cook: This may be a stupid question, but how do you define an introvert? How can somebody tell whether they are truly introverted or extroverted?
Cain: Not a stupid question at all! Introverts prefer quiet, minimally stimulating environments, while extroverts need higher levels of stimulation to feel their best. Stimulation comes in all forms – social stimulation, but also lights, noise, and so on. Introverts even salivate more than extroverts do if you place a drop of lemon juice on their tongues! So an introvert is more likely to enjoy a quiet glass of wine with a close friend than a loud, raucous party full of strangers.
It’s also important to understand that introversion is different from shyness. Shyness is the fear of negative judgment, while introversion is simply the preference for less stimulation. Shyness is inherently uncomfortable; introversion is not. The traits do overlap, though psychologists debate to what degree.
Continue on Live Science HERE
Stone Age Social Networks.
January 27, 2012
Continuing from the Dawn of Social Networks: Ancestors May Have Formed Ties With Both Kin and Non-Kin Based On Shared Attributes. HERE
If you ever sit back and wonder what it might have been like to live in the late Pleistocene, you’re not alone. That’s right about when humans emerged from a severe population bottleneck and began to expand globally. But, apparently, life back then might not have been too different than how we live today (that is, without the cars, the written language, and of course, the smartphone). In this week’s Nature, a group of researchers suggest that we share many social characteristics with humans that lived in the late Pleistocene, and that these ancient humans may have paved the way for us to cooperate with each other.
Modern human social networks share several features, whether they operate within a group of schoolchildren in San Francisco or a community of millworkers in Bulgaria. The number of social ties a person has, the probability that two of a person’s friends are also friends, and the inclination for similar people to be connected are all very regular across groups of people living very different lives in far-flung places.
So, the researchers asked, are these traits universal to all groups of humans, or are they merely byproducts of our modern world? They also wanted to understand the social network traits that allowed cooperation to develop in ancient communities.
Written by By Kate Shaw, Ars Technica. Continue on Wired HERE
Six Million Pilgrims, The Road to Tepeyac
January 27, 2012
Alinka Echeverría: “Six Million Pilgrims (2009) is a photographic typology of the backs of three hundred Mexican Catholic pilgrims on their journey to the
Basilica de Guadalupe in Mexico City. This yearly pilgrimage, undertaken by approximately six million people every year takes place on the anniversary of the five apparitions of the Virgin of Guadalupe between the 9th and 12th December 1531 to the indigenous man Juan Diego in Tepeyac, the sacred place of the Aztec goddess Tonantzin. The myth of the apparitions marks a turning point in the spiritual conquest of native Mexicans by the Spanish and lead to the amalgamation of Tonantzin and the Virgin Mary. This is the origin of the devotion of Mexicans to the Virgin of Guadalupe. Since the spiritual conquest of Mexico (arguably one of the most important legacies of the colonial period), the image of the Virgin has been of central importance in the history of Mexico. Her image was used by political leaders as a symbol of faith and freedom during the Independence movement in 1810, and again during the Revolution a century later.
In 2010 the Virgen de Guadalupe continues to be the center piece of our cosmology as Mexicans. This work is an observation of her role in contemporary visual culture and the vast layers of symbolism transmitted through her iconic image. I am also interested in the pilgrimage as a socio-political and cultural phenomenon and in the psychological and emotional relationship that each individual has with the Virgin. The work is inspired by the Becher tradition of systematic documentation. I chose to photograph the pilgrims that are carrying their virgin, which is usually hanging in their home. They take their paintings, sculptures, posters or cloaks of the Virgen to the Basicila to be blessed and to give thanks. Each portrait was taken separately, then ‘cut out’ and mounted onto a plain background. This decontextualization is intended to focus our attention on the individual. It also functions as a means to be able to then recombine it with the other hundreds of pilgrims. When placed back into the series the image has a direct relationship to the other portraits
rather than with the rest of the elements originally in the image. The large number of portraits creates a visual maze of similarity and difference, perhaps metaphoric of Mexican identity and makes us imagine the millions of pilgrims that visit the Basilica every year.”
www.alinkaecheverria.com
ERIKA EIFFEL – IN LOVE WITH THE WALL
January 27, 2012
An interview by soso Magazine about sexual attraction to urban objects, featuring the love story between Erika Eiffel (aka. Mrs. Berliner Mauer) and the Berlin Wall: A radical extreme of literally appropriating public space.
Generations of chain-smoking writers, skinny-jeaned bloggers and people with guitars have howled on about the subject. Love. Why do we love when all heavenly odds seem to be working against us? Why do we love after the other has disappointed us? Heck, why do we even love at all? During 5½ hours worth of tea, Erika Eiffel and I attempted to answer the unanswerable. It took us just that long to realize that, well, it’s beyond us, but we’ll probably never regret that we tried.
Erika’s objectum sexual – the sexual orientation of individuals engaged in romantic relationships with objects. Meaning, like your friend Benny can love boys, and your friend Andrea can love girls, your friend Alex can love his broomstick, or floorboard, or loudspeaker. Erika’s partner, her soul mate and love of her life, is the Berlin Wall. Now, this is not an easy object to love. It’s chipped, it’s graffiti-smeared, it’s crooked and it’s disappearing. It tore the city of Berlin – and the world – in two, ripped apart families, cost countless lives and helped define decades of a very chilly war. Erika’s Wall may be the human equivalent of that boyfriend with a terrible past. The one who ended up in jail, or the one who lied and cheated and hurt everyone you cared about. Yes, the one you loved anyway.
Before the Wall, Erika had a string of successful relationships with truly inspiring objects of affection. The kind that looks great on paper, at least. There was her love for a bow, which earned her two world champion titles on the US national archery team. Then there was the Japanese sword that made her the youngest world champion in the art of Iai-batto-jutsu. And her relationship with the admittedly very sexy F-15 jet got her one rare congressional nomination to the US Air Force academy. Finally, in 2007, she settled down and had a public commitment ceremony with the Grand Madame of Paris — the Eiffel Tower. Everyone agrees the tower is beautiful. With its straight lines and sturdy steel it’s an architectural marvel. Although she loves the tower to this day, she now knows that the ceremony was her attempt to have an at least somewhat accepted, mainstream objectum sexual relationship. It didn’t feel quite right. So just like I moved on from my eerily beautiful, learned and sophisticated ex-boyfriend to be with someone I had loved for years, Erika packed her bags and moved to Berlin to be with her Mauer.
[Interview conducted by Jennifer Hofmann; photographs by Anastasia Loginova]:
Okay, let’s get to it. When did you first realize that you were objectum sexual?
Well, I always knew. I used to hate manufactured toys so I built my own. For example, I found these two small planks of wood that I really connected to. So I nailed them together and took them with me wherever I went. To school, to bed, to play dates…everywhere. Of course, people thought it was cute then.
Korongo Door
January 26, 2012
There is a circular hole in the wall, about 30-40 cm diameter and perforated at 1 meter above the ground. A man enters through the hole in the wall and a man (apparently the same individual) exits again through the same hole. His mate is standing right next to the hole and seems to be waiting for him. Yesterday I came across these pictures again. The enigmatic hole is the entrance to a room. It is a door that keeps you fit, elastic and flexible, if you want to discover what there is at the other side of the wall. Its dimension relies on the utmost reduction of a bending human body. And the erotic experience of penetrating it is intimately connected both to the materiality of the hole and the earthen texture of the wall. It is an intuitive understanding of a house as the shelter of a woman’s uterus. It requires thinking where to place first a leg, an arm, then a hand and a foot. But even if it looks like a perforation, as if material had been removed out of the massive surface, the hole was indeed already there before the wall was built all around it. It is incredibly mysterious when our iconic idea of a rectangular door mutates and becomes something else that defines a new type of threshold.
Below there is another door of Korongo houses that also fascinates me: the oversized threshold, shaped as a human-size keyhole. One discovers its meaningfulness after knowing that it lets villagers access the room while carrying two large jars with drinking water hanging from a stick over their shoulders.
George Rodger captured in his photographs the everyday lives of the Nuba people in Sudan in late 1940s, their houses, their wrestling combats with sharp-edge bracelets, and their aesthetic scars that adorn their bodies.
[photos by George Rodger in Village of the Nubas. Phaidon 1999]
Dawn of Social Networks: Ancestors May Have Formed Ties With Both Kin and Non-Kin Based On Shared Attributes
January 26, 2012
Ancient humans may not have had the luxury of updating their Facebook status, but social networks were nevertheless an essential component of their lives, a new study suggests.
The study’s findings describe elements of social network structures that may have been present early in human history, suggesting how our ancestors may have formed ties with both kin and non-kin based on shared attributes, including the tendency to cooperate. According to the paper, social networks likely contributed to the evolution of cooperation.
“The astonishing thing is that ancient human social networks so very much resemble what we see today,” said Nicholas Christakis, professor of medical sociology and medicine at Harvard Medical School and professor of sociology in the Harvard Faculty of Arts and Sciences, and senior author on the study. “From the time we were around campfires and had words floating through the air, to today when we have digital packets floating through the ether, we’ve made networks of basically the same kind.”
“We found that what modern people are doing with online social networks is what we’ve always done — not just before Facebook, but before agriculture,” said study co-author James Fowler, professor of medical genetics and political science at the University of California, San Diego, who, with Christakis, has authored a number of seminal studies of human social networks.
Via Science Daily. Continue HERE
Image above: The Hadza of Tanzania live as hunter-gatherers. (Credit: Courtesy of Coren Apicella/Harvard Medical School)
Imagining the Tenth Dimension: A New Way of Thinking About Time and Space
January 26, 2012
Rob Bryanton made his first record at twelve, and was host of a regional CBC-TV music series at twenty. He is the President of Talking Dog Studios (www.talkingdogstudios.com) in Regina, Saskatchewan, Canada, which specializes in music and sound for film and television. He has been nominated eight times in the last eight years for Canada’s prestigious Gemini Awards, four times in the category “Best Original Music Score for a Dramatic Series”, and four times for “Best Sound for a Dramatic Program”. Recent projects to which Rob has contributed his talents as a composer and sound mixer include the hugely popular CTV series “Corner Gas”, plus the historical mini-series “Prairie Giant: The Tommy Douglas Story” (CBC-TV). Rob is also responsible for the theme and underscoring on CBC’s Canadian Antiques Roadshow. While Rob has had poems and song lyrics published in several anthologies over the past decade, “Imagining the Tenth Dimension” is his first book. It represents the culmination of a lifelong fascination with science, philosophy, and the nature of reality which, as he tells in the book, began at the age of seven. Rob is also the current President of the Saskatchewan Motion Picture Association, and is an active volunteer in his community. A typical stubborn prairie boy, he is proud to have built a career for himself as a composer and sound mixer in his home town, and to have been a part of Saskatchewan’s burgeoning film and television industry for the past 30 years. Rob lives in Regina with his wife Gail and their dog Buddy. Gail and Rob have two sons, Todd and Mark. Text taken from Amazon
First Woman On The Moon, 1999 by Aleksandra Mir.
January 26, 2012
The day when heavy machinery and manpower transformed a Dutch beach into a lunar landscape of hills and craters. At sunset the labor stopped, and a live drumbeat announced the ceremony of a woman, gracing this imaginary moon with an American flag. The same evening, while the party still went on, the landscape was flattened out again, leaving no physical trace of the event behind—save the memories and a story to tell future generations.
First Woman On The Moon, 1999 by Aleksandra Mir.
The Folly of Internet Freedom and the Mistake of Talking About the Internet as a Human Right
January 25, 2012
In the past two years, protesters against authoritarian regimes have begun to heavily use social-networking and media services, including Twitter, Facebook, YouTube, and cell phones, to organize, plan events, propagandize, and spread information outside the channels censored by their national governments. Those governments, grappling with this new threat to their holds on power, have responded by trying to unplug cyberspace.
Some examples: In April 2009, angry young Moldovans stormed government and Communist Party offices protesting what they suspected was a rigged election; authorities discontinued Internet service in the capital. In Iran, the regime cracked down on protesters objecting to fraudulent election outcomes in June 2009 by denying domestic access to servers and links, and by slowing down Internet service generally — although protesters and their supporters found ways around those restrictions. In Tunisia, when protests against President Zine el Abidine ben Ali escalated in December 2010, his government sought to deny Twitter services in the country and hacked the Facebook accounts of some Tunisian users in order to acquire their passwords. In Egypt, amid mass protests in Cairo and several other cities in January 2011, Hosni Mubarak’s government attempted to disconnect the Internet. But there, too, protesters found limited workarounds until the doomed regime eventually restored some services.
Authoritarians may have reason to fear cyberspace. It is widely believed that the proliferation of Internet access and other communications technologies empowers individuals and promotes democracy and the spread of liberty, usually at the expense of centralized authority. As Walter Wriston optimistically put it in his 1992 book The Twilight of Sovereignty: “As information technology brings the news of how others live and work, the pressures on any repressive government for freedom and human rights will soon grow intolerable because the world spotlight will be turned on abuses and citizens will demand their freedoms.”
Written by Eric R. Sterner, The New Atlantis. Continue HERE
Earthflight – Peregrine Falcon Hunts Starlings in Rome
January 25, 20125 million starlings stream into Rome every winter evening. They form some of the most mesmeric aerial displays to confuse and avoid a peregrine falcon on the look out for his evening meal.
Earthflight uses many different filming techniques to create the experience of flying with birds as they reveal some of the greatest natural and man-made monuments of the planet.
Indigenous group in Argentina protests agaist use of sacred meteorite in dOCUMENTA (13)
January 25, 2012
In recent weeks it has become public in Argentina, the project initiated by two artists from Buenos Aires, Guillermo Faivovich and Nicholas Goldberg, consisting of a loan moving the meteorite “El Chaco” to Kassel, Germany, during the international art contemporary art exhibition Documenta 13.
“In Argentina, a rich and complex debate has recently arisen about the loan of this object. dOCUMENTA (13) therefore suspended its loan request on January 16 in respect of the positions stated by experts and local communities. Furthermore, dOCUMENTA (13) would like to state that no loan of the El Chaco meteorite will be further requested without a full endorsement by the peoples of the land of Chaco, by the local community as a whole, and in careful consideration of the beliefs and principles of the traditional custodians today. The artists are currently meeting with all concerned parties to discuss the matter together.”
Could this be one of those tactical, post-colonial, and anti-paradigmatic works of conceptual art banning?
Cultural astronomer Alejandro López, among his colleagues, promoted the opposition to this project, which seriously violates the rights of Aboriginal Chaco. The writings of ancient chroniclers and investigations carried up from the Aboriginal worldview, clearly show that for these people meteors scattered on Campo del Cielo, are very important milestones in its territory.
Since the project was announced to move the meteorite Chaco aborigines have voiced opposition to it and want to work to make their voices heard. Click HERE to read and sign the petition. The petition is written in Spanish. However, you don’t read Spanish to sign it.
El Chaco meteorite, Campo del Cielo, near Gancedo, Chaco, Argentina
Click HERE to read the statement written by Documenta 13 suspending their request for the exhibition.
Interview with Guillermo Faivovich in La Voz, an Argentine publication.
CELLTEXTS: Books and other works produced in prison
January 25, 2012
CELLTEXTS by Ines & Eyal Weizman was a 2008 project that created an archive of texts, love letters, philosophical statements, letters to mothers, songs, treatises, political manifestos, and novels… written from incarcerated dissidents all around the world. The library uses the writer’s time spent in prison (1 day to 45 years) to organize an amalgam of published knowledge.
The installation is dedicated to prisoners engaged in writing. The work is organized around a collection of hundreds of books and other texts from across the world written under conditions of enforced incarceration. The collection includes the work of writers who have been sent to prison for the contents of their writing, for their political involvement, as well as of prisoners convicted of other crimes who have used the time and seclusion of their incarceration to become writers. Through the collection of texts an archipelago of prison cells emerges. The cells are thus revealed as sites of intellectual production, marking the limit condition of writing. The collection is assembled in recognition that spatial confinement and isolation may induce a process of creative, imaginative, sometimes spiritual, cultural production.
The individual’s impulse to survive through texts, through reclaiming her own voice against the imposition of others, creates an autarkic realm in which practices of dissidence, political and personal, could be reinstated. Commissioned and designed by and for the state, prison cells acquire a potential subversive content, becoming critical spatial apparatuses. Paradoxically, imprisonment emerges as an active practice of citizenship a mechanism of political opposition that call for a confrontation or intolerance with certain forms of government.
Excerpt from Ines & Eyal Weizman’s statement: For many prisoners, the prison could offer a period of reflection, scholarship and education as well as a resonating chamber for political dissent. Regis Debray described the Prison as “the dissident’s second university”. Antonio Gramsci was forced to write in code to bypass the constraints of the prison and its censorship. Ezra Pound learns from the Chinese Encyclopedia which he smuggled into his Pisan cage. For Antonio Negri it was the routines of the prison that represented the principal form of punishment in a capitalist society. Auguste Blanqui formulated in the middle of the 19th century, a detailed guide for the armed uprising of the revolutionary multitudes which included sketches and street maps with exact details of barricades. Many writers are fascinated with insects and animals coming into their prison cells.
A new Lego line for girls is offensive, critics say.
January 25, 2012
Lego toys have always seemed pleasantly gender-neutral. Perhaps that’s why the new Lego Friends line for girls has triggered a fair bit of protest from some health and equal-rights organizations.
The new line, whose characters sport slim figures and stylish clothes, will contribute to gender stereotyping that promotes body dissatisfaction in girls, said Carolyn Costin, an eating disorders specialist and founder of the Monte Nido Treatment Center in Malibu.
Online petitions have been started to protest the line, which includes a Butterfly Beauty Shop and a Your Fashion Designer Workshop. The International Assn. of Eating Disorder Professionals said the toys were “devoid of imagination and promote overt forms of sexism.”
Written by Shari Roan, Los Angeles Times. Continue HERE
LEGO Group commentary on attracting more girls to construction play
Sue Coe: Art of the Animal
January 25, 2012
New York-based British artist, Sue Coe, in sketching, drawing, and painting what she has seen in factory farms, slaughterhouses and other places where animals are made to suffer all over the world, is both witness and change agent. Our Hen House, the internet’s hub of all things vegan and animal rights (which was just named by VegNews Magazine the Indie Media Powerhouse of 2011), is proud to announce the latest installment in our Art of the Animal series: a new video-short, “Sue Coe: Art of the Animal.” Our Hen House’s ongoing Art of the Animal video series speaks with artists of all kinds who speak up for animals through their medium. Now, we invite you and your site’s visitors to experience the revelatory images that document the reality of animal exploitation, and to learn first-hand from Sue Coe how her journey into this oftentimes dark, but very real world, manifested.
Directed by Our Hen House’s Executive Director, Jasmin Singer, the video-short takes the viewer on a journey narrated by Sue Coe, and features selections from her vast body of work. Coe describes the impetus behind her life’s work – growing up next door to a hog farm and hearing the hogs’ screaming as they were led to slaughter. These experiences left an indelible mark on the artist. In turn, Coe leaves her own mark on the hearts and minds of anyone who views her images, which have been shown in galleries and museums all over the world. The unapologetically graphic nature of Coe’s work results in viewers bearing witness to suffering – a fate that began for Coe so many years ago – yet also leaves many feeling inspired to create change. For Sue Coe, and for many of us who take in her images, complacency is no longer an option. Though many vegans and animal rights advocates are already aware of these realities, even seasoned activists will be moved and inspired by Coe’s artistic explorations of animal suffering.
Sue Coe
http://www.ourhenhouse.org/
Image above: King Tusko: Life in Chains, 2008
By Sue Coe, Oil on canvas, 30 x 42 inches.
Architecture and the Paradox of Dissidence. Call for Papers
January 25, 2012
Synopsis: This conference aims to reflect on the relevance of the concept of dissidence for architectural practice today. Although dissidence has been primarily associated with architectural practices in the Eastern Bloc at the end of the Cold War period, contemporary architectural and other aesthetic practices have in recent years developed a host of new methodologies and techniques for articulating their distance from and critique of dominant political and financial structures. Architecture and the Paradox of Dissidence asks how we can conceive of the contemporary political problems and paradoxes of architecture in relation to their precedents? Devoid of the agency of action, Cold War dissidents articulated their positions in drawings of fantasy-like paper architecture, while contemporary forms of architectural practice seem to gravitate towards activism and direct-action in the world. The political issues – from interventions in charged areas worldwide to research in conflict zones and areas undergoing transformations – currently stimulate a field of abundant invention in contemporary architecture. Both, Cold War dissidents and contemporary activists encounter problems and paradoxes and must navigate complex political force fields within which possible complicities are inherent risks.
New forms of critical practice, and political and spatial dissent are manifold, appearing in stark contrast to contemporary architectural practice in which professional courage seems to have been translated into structural “virtuosity” of surfaces. This conference seeks to map out and expand on the methodologies of architectural action and reinvigorate the concept of dissent within the architectural/spatial field of the possible. A more historical thread that runs through the programme will seek to weave the genealogy of political/spatial practices from the Cold War dissidents of the Soviet Bloc to the activists of South American favelas.
Dissidents in the former communist countries used a specific set of codes to question the ideological doctrine of the state party. Architects who were otherwise employed in state run architectural collectives, or as staff in architecture schools met to produce writings, private lectures, secret installations and architectural articulations of allegories and legends – activities that challenged the ’stifling’ standardized language of Soviet architecture. Many of these ‘paper architects’ questioned the relationship between art, architecture and politics, but also, and significantly so, the ideological, and thus also ethical function of various forms of ‘creative practices’. The political melt-down of the Soviet Bloc reconfigured this complex field of political codes, architectural gestures and references. The withdrawal of the architect from large ideological concepts regarding social utopias mirrored that fragmentation and dissemination of (neo)liberal market structures. Large ideological battles were replaced with a multiplicity of local, or issue-specific conflicts within which forms of activism have been integrated. Dissent against large integrated and complex networks is no longer possible. All that is left is to navigate the complex fields of forces in a reflective and innovative manner. But can the assemblage of gestures and techniques of past struggles and ‘dilemmas’ of working in politically suppressive regimes help to inform those of today?
The conference thus seeks to attract contemporary spatial practitioners, architects, urbanists, journalists, activists, filmmakers and curators, asking them to reflect upon contemporary forms and conditions of dissent and their potential problems and inevitable paradoxes. It welcomes, too, the reflections of architects and architectural historians to reflect upon previous articulations of political dissent through architectural practice.
Text taken from http://dissidence.org.uk
Political Equator
January 25, 2012The Political Equator was conceptualized by Teddy Cruz in 2005. Political Equator 3 was a 2-day cross-border mobile conference held on the 3rd and 4th of June 2011. This event was co-organized by the Center for Urban Ecologies at the Visual Arts Department at UCSD, and two community-based, non-profit organizations on both sides of the border, Casa Familiar in San Ysidro, California and Alter Terra in Tijuana, Baja California, Mexico.
The third program in a the series of bi-national conferences, PE3 continues to engage pressing regional socio-economic, urban and environmental conditions across the San Diego –Tijuana border. These meetings have been focusing on a critical analysis of local conflicts in order to re-evaluate the meaning of shifting global dynamics, across geo-political boundaries, natural resources and marginal communities.
Stochasticity: What is randomness?
January 25, 2012
Blobs of light (M I T C H Ǝ L L/flickr/CC-BY-2.0)
Radiolab: Stochasticity (a wonderfully slippery and smarty-pants word for randomness), may be at the very foundation of our lives. To understand how big a role it plays, we look at chance and patterns in sports, lottery tickets, and even the cells in our own body. Along the way, we talk to a woman suddenly consumed by a frenzied gambling addiction, meet two friends whose meeting seems to defy pure chance, and take a close look at some very noisy bacteria. Listen to podcast HERE
Young Indians in social network ‘fatigue’
January 25, 2012
Indian IT professionals are pictured at an industry event in Bangalore in 2010. India’s urban youth are suffering social-media “fatigue,” prompting a number to delete their Facebook and other accounts, according to a new study.
“Youngsters have started finding social media boring, confusing, frustrating and time-consuming,” the survey commissioned by by the Associated Chambers of Commerce and Industry of India (ASSOCHAM) found.
India’s youth have “started experiencing social-media fatigue” and are tending to log less frequently onto social networks like Facebook, Google+, Twitter, Orkut, and others than when they signed up, the study reported.
The research that polled 2,000 young people aged 12-25 in 10 cities found many were instead using mobile applications such as Blackberry Messenger, WhatsApp, Nimbuzz, or Google Talk that allow them to chat with their friends.
“Tech overload is apparent among youth and their fixation with social media seems to be eroding,” said D.S. Rawat, ASSOCHAM secretary general, commenting on the survey emailed to AFP on Tuesday.
Some 55 percent of respondents said they had “consciously reduced” their time spent on social media websites and it was no longer a “craze” for them.
More than half of the 55 percent who had cut down on their activity on social media sites said they had actually deactivated or deleted their accounts and profiles from these websites.
Of nearly 200 young people interviewed in New Delhi, 60 percent said they found it “boring and sick to see constant senseless status updates.”
Most of the social media website users said they had opened many accounts initially but now preferred now to stick to a single site.
A majority of the Indian respondents also said “compulsive” social networking had led to insomnia, depression and poor personal relationships, the survey said.
(c) 2012 AFP. Via Physorg
OTERP: A Prototype for a Musical Geolocative Game
January 24, 2012Oterp is a mobile phone game project using a GPS sensor to manipulate music in real time, depending on the player’s position on Earth. It generates new melodies when traveling. The objective of Oterp is to mix the reality of our everyday environment with a video game. This is a new way to imagine our movements in a society increasingly on the move and dependent on mobile interfaces.
Performing Data, the Book
January 24, 2012
Performing Data, the exhibition, was a review of Fleischmann and Strauss´ body of work from Virtual Reality (Home of the Brain) up to Mixed Reality (Murmuring Fields or Energie-Passagen), from Fluid (Liquid Views) to Rigid (Rigid Waves) up to Floating Interface (Media Flow).
Monika Fleischmann and Wolfgang Strauss from the Fraunhofer IAIS Research Institute show an intersection of the body and immaterial digital data. From Body Space (Virtual Striptease) to Knowledge Space (Semantic Map): Interactivity as an extension of touch is a central strategy of their work – interactivity with its complex relationship to reality, re-presentation and presence.
The body as interface and intersections to the disembodied digital information. Immersion in data flow causes productive moments of disturbance and suspension, and consequently – a feeling of real physical presence.
The exhibition Performing Data included works from the early 1990s, when the artists/scientists were co-founders of the ART+COM collective in 1987 in Berlin. Since 1992 they developed their work as research artists at KHM and GMD – the German National Research Center for Information Technology, since 1997 as directors of the Media Art & Research Studies (MARS) department and since 2001 at Fraunhofer Society, in the Institute for Media Communication (IMK) and the Institute for Intelligent Analysis and Information Systems in Sankt Augustin, Germany.
whiteonwhite:algorithmicnoir
January 24, 2012
RC: Eve Sussman and her collaborative team Rufus Corporation are touring their latest film project whiteonwhite:algorithmicnoir, to the Sundance Film Festival, Berlinale, and Site Santa Fe in January and February 2012.
An expedition to the banks of the Caspian landed Rufus Corporation in a dystopian “future-opolis” that became the location for their experimental film noir. Pushing the envelope of cinematic form, the film is edited live in real time by a custom programmed computer they call the “serendipity machine.” whiteonwhite:algorithmicnoir delivers a changing narrative – culled from 3,000 clips, 80 voice-overs and 150 pieces of music – that runs forever and never plays the same way twice. The unexpected juxtapositions create a sense of suspense alluding to a story that the viewer composes. Driven by key words, the work seamlessly comes together as a movie – that is not a movie.
The film follows the observations and surveillance of the central protagonist, a geophysicist named Holz (Jeff Wood), stuck in a 1970’s looking metropolis operated by the New Method Oil Well Cementing Company. Voiceovers and dialogues (in English and Russian with English subtitles) forge the implied narrative – wire tapped telephone conversations, reel-to-reel tapes, snippets of a job interview between Mr. Holz and his employer and a mysterious woman referred to simply as “Dispatch”. A narrator describes various impositions on the citizens including strangely manipulated time keeping, a language ration, lowered suicide statistics, the effects of lithium, and the workings of the water factory. It becomes evident that the character is controlled by the city and the factory he is working in, as the course of the story is controlled by the machine that edits the film.
“Twelve Lessons (Most of Which I Learned the Hard Way) for Evolutionary Psychologists” by Dan Fessler
January 24, 2012
Dan Fessler: As an undergraduate, most of the professors in the Anthropology Department at my university practiced psychological anthropology, a subfield of sociocultural anthropology that combines theories from various branches of psychology with the study of culture. I decided that I was going to be a psychological anthropologist, and I continued on at the same university, with the same professors, for my graduate degrees. Although I was confident that, to understand human behavior, it was necessary to investigate the interaction of mind and culture, I nevertheless became increasingly dissatisfied with psychological anthropology, which lacks an overarching theory from which to derive hypotheses, and which often eschews hypothesis testing in favor of description and interpretation. Anthropologists usually emphasize the differences between people in different societies, yet, during my doctoral field research, I was impressed by the underlying universalities in human emotions. I began thinking more about human evolution, and, with guidance from several primatologists, I gradually began to invent my own version of evolutionary psychology. I was unaware that such a discipline was already emerging – indeed, many of my ‘new’ ideas had already been formulated more clearly by others. It was a revelation when I attended my first meeting of the Human Behavior and Evolution Society, and discovered a whole field devoted to my area of interest.
Via The International Cognition & Culture Institute’s Blog. Continue HERE
The Invisible Mother
January 24, 2012
This was a practice where the mother, often disguised or hiding, often under a spread, holds her baby tightly for the photographer to insure a sharply focused image.’
- The Hidden Mother Via Retronaut
“Playing God” a BBC Horizon Documentary
January 23, 2012Adam Rutherford meets a new creature created by American scientists – the spider-goat. It is part goat, part spider, and its milk can be used to create artificial spider’s web.
It is part of a new field of research, synthetic biology, with a radical aim: to break down nature into spare parts so that we can rebuild it however we please.
This technology is already being used to make bio-diesel to power cars. Other researchers are looking at how we might, one day, control human emotions by sending ‘biological machines’ into our brains.
Group settings can diminish expressions of intelligence, especially among women
January 23, 2012
In the classic film “12 Angry Men,” Henry Fonda’s character sways a jury with his quiet, persistent intelligence. But would he have succeeded if he had allowed himself to fall sway to the social dynamics of that jury?
Research led by scientists at the Virginia Tech Carilion Research Institute found that small-group dynamics — such as jury deliberations, collective bargaining sessions, and cocktail parties — can alter the expression of IQ in some susceptible people. “You may joke about how committee meetings make you feel brain dead, but our findings suggest that they may make you act brain dead as well,” said Read Montague, director of the Human Neuroimaging Laboratory and Computational Psychiatry Unit at the Virginia Tech Carilion Research Institute, who led the study.
The scientists used functional magnetic resonance imaging (fMRI) to investigate how the brain processes information about social status in small groups and how perceptions of that status affect expressions of cognitive capacity.
“We started with individuals who were matched for their IQ,” said Montague. “Yet when we placed them in small groups, ranked their performance on cognitive tasks against their peers, and broadcast those rankings to them, we saw dramatic drops in the ability of some study subjects to solve problems. The social feedback had a significant effect.”
Via Medical Xpress. Continue HERE
Photo above: President George W. Bush delivers remarks at the opening of the Organization of American States General Assembly in Fort Lauderdale, Florida, Monday, June 6, 2005. White House Photo by Eric Draper.
ZVO.ČI.TI. so.und.ing Collection: A podcast collection of Slovenian contemporary sound art
January 23, 2012
ZVO.ČI.TI. so.und.ing Collection is a podcast collection of Slovenian sound artists, composers of electroacoustic, experimental, algorithmic, electronic, improvised and composed works.
The DVD release of the ZVO.ČI.TI so.und.ing Collection represents the final part of the multi-year project devised to be a continuous production of thematic radio and podcast audio programmes about specific authors and works of theirs that were created in the studio or performed live.
The purpose of the project is to connect and highlight Slovenian authors who make contemporary music in the music performance, sound, intermedia, performing, online and other areas and to present them, using existing communication possibilities, into the wider arena of world contemporary sound creativity.
01_Marko_Batista_2009.mp3 … 01:03:51
03_Miha_Ciglar_2010.mp3 … 01:16:14
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