re-active platform
fachseminar
dienstag 11-13 h
room2 fuer multimedia&performance
filzengraben 2b, ehemals glas moog
... new & mixed / interface-gestuetzt / environment-orientiert / computer supported / digital / elektronisch / cybernetic / network-based / mobil / wireless / locative / intermedial / transitorisch / satellitar / virtuell / reaktiv / interaktiv :
aus der lokalen tradition des bereiches multimedia&performance bietet sich eine platform an fuer reaktive und interaktive systeme, interface-, computer-gestuetzte und environment-orientierte installationskunst, multimediale performance ...
das thema dieses semesters lautet : PERFORMANCE : zu event, game, happening, total art, deren medien und technologien. Keywords: (soziale) performanz, audience, sendung, uebertragung, re-feed, embodiment, re-enacting, aktionskunst, expanded media...
von den kunstgeschichtlichen referenzen bis zu den praktischen konsequenzen: die platfom versteht sich als umgebung zur entwicklung von konkreten projekten; nach bedarf werden einfuehrungen zur anwendung von sensorik, camera-tracking und mobilen und locativen technologien angeboten.
returnable DATA
mehrwegdaten zur entwicklung von performativen plots
1
mehrweg-kunstgeschichte : es gibt kein readymade1
aneignung
variationen
negationen
umkehrung
wiederholung
2
mehrweg-theorie : die ästhetik als form des denkens2
übersetzung
konzept
unbewusstes
kognitive übung
3
mehrweg-stoffe : die materie der kunst als handlung3
neuverwertung
recherche
diskurs
alternative darstellung
alternative verdinglichung
EXPANSION
Bereiche der expansion :
völkerwanderung
gasverhalten
kommerz
sprengung vom
gattungsgefüge
Techniken der expansion :
entformung
verdinglichung
simultaneität
kombinatorik
redimensionierung
prozessualisierung
totalisierung
entformung 1
freie assoziation
seit 1895
http://de.wikipedia.org/wiki/Freie_AssoziationVito Acconci / Association Area / 1971 on YouTube
AA @ re-active am 21. okt. 08 http://blog.khm.de/gallery2/itemId=699
workshop 1
Yolande Harris / Scorescapes - working with a NMEA* parser / dienstag 4. november 08 11-16 h / atelier 2 / glas moog EG
Goals:
- To develop an understanding of the relationship between scores, sound, environment and performance.
- To use this concept as the framework for proposing a new work whether intervention, performance or installation.
- To develop a working Scorescape that translates navigation data into sonic and/or visual media for a performance or installation.Introduction:
My concept of a Scorescape arose from a need to grasp relationships between sound and image, environment and communication, performance and installation, composer and audience. Working with techniques and concepts of both navigation and audiovisual performance, I developed two projects, Taking Soundings (KHM fellow 2006) and Sun Run Sun / Satellite Sounders (Montevideo/STEIM Residency 2008) that explore these ideas of score, landscape and the position of the spectator within them. Taking Soundings turned GPS data into sounds and images live, Sun Run Sun is a collection of pieces in different formats centered around the Satellite Sounders, small portable instruments that transform the position and motion of the GPS satellites in the sky into live sound related to the participants movement. By experimenting with the conceptual context and technical development issues around these two works, Scorescapes establishes an open platform to shape new works and new ideas.Theory:
As a conceptual tool we will use a radically expanded notion of the score. Conventional musical scores are characterized by static notation, enclosed spaces, predefined roles of composer performer and audience, an object kept in a library. How can this be made relevant to contemporary performance practices with new technologies? It starts with the experiments that treated the score a medium of communication, in early performance art as a conceptualization of action and interpretation. In relation to media theory, the score can be seen as a medium that influences and carries meaning from a site to a source of reception. The score is fundamentally an intermediary between audio and visual, and subject to interpretation, whether human or technical.Practice:
As a technical tool to explore these ideas we will gather data from the Global Positioning System (GPS). We will examine the raw NMEA data (National Marine Electronics Association) that we receive to try to understand the technical principles of satellite navigation and the relation to earlier forms of celestial and coastal navigation. We will then select parts of the data, for example the longitude and latitude, the elevation and azimuth, the calculated speed and altitude; and map these to sound processes, visual processes or other forms. To do this we will use the NMEA data parser in PureData (PD) or Max/MSP.Process:
In the sonification and visualisation of data, the technical translation of numbers into sound, can we identify the points where interpretation is needed and where the imagination takes over?
When collecting streams of data about our location in space, can we interpret this data as a score, as sonic or visual maps, that heighten our embodied experience of being in environment?
What choices do we make when translating numbers in sound and image? It is important to consider this mapping in terms of the conceptual provocations of the score and implications for performance or exhibition.
Think of these as live scores to be made available to others, provocations of action, of discussion, of performance. When making the visual or sonic summary of each score - think what the most important features are for communication, what makes your piece what it is?Equipment:
Computers running either Max/MSP+Jitter 5 and/or PureData
GPS NMEA data parser in Max/MSP and/or PD
Bluetooth GPS (to input live to the computer)
Links / References:
http://sunrunsun.nimk.nl/
http://www.macba.es/uploads/20080617/Programa_PDF_ENG.pdf
http://www.yolandeharris.net/
http://www.scorescapes.net
* NMEA steht für National Marine Electronics Association (NMEA), eine US-amerikanische Vereinigung von Elektronikherstellern und -händlern der Schifffahrtsindustrie. Ziel ist die Entwicklung und Durchsetzung von Standards der Marineelektronik.
* Der NMEA-Standard ist ein Übertragungsstandard im maritimen Bereich, der in verschiedenen Versionen vorliegt. Hauptanwendung ist hierbei die Weitergabe von Positionsdaten eines weltweiten Navigationssatellitensystems (GNSS, Global Navigation Satellite System) an andere Geräte.
verdinglichung 1
das Muendigwerden des realen Gegenstandes
Arman und die Technik der Akkumulation
Tim Ulrichs und die Selbstausstellung
Vilém Flusser und die technischen Bilder
Mark Bain / Trembling Structures / introducing interview 1999
* Subject: <nettime> interview: Mark Bain
* From: Josephine Bosma <jesis {AT} xs4all.nl>
* Date: Sun, 8 Aug 1999 23:24:17 +0200 (CEST)
"I guess my Vibronic system attempts to question this
architectural authority in presenting art." (M.B.)Mark Bain is an artist who makes installations in which sound is an important aspect. His work is interesting, wild and funny. He connects
oscillators to architectural structures in order to make them tremble. I saw his work for the first time at DEAF '98, where he not only had used
the V2 building as an instrument, but where he was also asked to be part of the big boat party of the festival in the Rotterdam harbour. He
attached oscillators to the metal of the top of the boat. He does not use the internet (yet, that is. as you can see at the end of the interview one
of his new works involves an extension: an etherconnection), which could be caused by the fact that his work is something one has to preferably
experience live, at the site where it is produced. His unconventional choice of the medium to produce sound with however, plus his relaxed
attitude towards it, seemed inspiring enough to share with you.Mark Bain / The Live Room / 1998
http://framework.v2.nl/archive/archive/node/text/.xslt/nodenr-128820
verkörperung 1
Johanna Steindorf und die Erziehung zur Schönheit
KINNBAND aus wikipedia http://de.wikipedia.org/wiki/Daniel_Gottlob_Moritz_Schreber#Orthop.C3.A4dische_Ger.C3.A4te
SCHULTERRIEMEN aus wikipedia http://de.wikipedia.org/wiki/Daniel_Gottlob_Moritz_Schreber#Orthop.C3.A4dische_Ger.C3.A4te
GERADHALTER aus wikipedia http://de.wikipedia.org/wiki/Daniel_Gottlob_Moritz_Schreber#Orthop.C3.A4dische_Ger.C3.A4te
personalities
GINA PANE : action in situ und andere performances
Aktionen fuer unterwegs in den 60er; in den 70er hauptsaechlich performances (body acting, selbstverletzung..); dann partitionen.
Gina Pane / Autoportrait(s): mise en condition/contraction/rejet, 11 janvier 1973. Collection MNAM - Centre Pompidou. / © Jacques Faujour, Centre Pompidou, 2005 / © ADAGP, 2005.
Gina Pane / Terre protégée 2, Pinerolo (Italie) / 1970 / © Anne Marchand, ADAGP, 2004 , Paris
Gina Pane / La sérénité d’Ulysse ou la métamorphose de Kafka ? document originel de l’Action Mélancolique, 1974 / tirage argentique noir et blanc et mention manuscrite, 30,1 x 22 cm / Edition de 60
references :
online references :
http://peformancevideos.blogspot.com/
peter arlt / angewandte soziologie im oeffentlichen raum / www.peterarlt.at/
departement fuer oeffentliche erscheinungen / www.department-online.de
Christian Hasucha / OEFFENTLICHE INTERVENTIONEN / http://www.hasucha.de
bibliographic references :
Nicolas Bourriaud / POSTPRODUCTION / Lukas&Sternberg / 2002
Dieter Daniels, Barbara U. Schmidt (EDS.) / Artists As Inventors / Hatje Cantz / 2008
Manfred Fassler / Tiefe Oberflaechen / Virtualitaet, Visualisierung, Bildlichkeit / VF Archiv / 2000
Anke Gleber / The Art of Taking a Walk / 1957
Heidi Grundmann / ART Telecommunication / 1984
Florian Haydn et alii / Temporary Urban Spaces / 2006
Klaus Hoffmann / KUNST IM KOPF / Aspekte der Realkunst / DuMont / 1972
Damian Sutton et alii (ed.) / The State of the Real / Aesthetics in the Digital Age / 2007
Lorenzo Taiuti / Arte e Media / Avanguardie e comunicazione di massa / Costa & Nolan / 1996
Paul Virilio / Revolution der Geschwindigkeit / Merve / 1993
Gabriele Werner (HG) / Systemische Raeume / Bildwelten des Wissens / Kunsthistorisches Jahrbuch fuer Bildkritik / Band 5,1 / 2007
Stephen Wilson / Umwelt-erfassende Kunstwerke und interaktive Kunstereignisse / in KUNSTFORUM Bd. 103 / 1989
uploaded by arte-e-parte / last update october 27th 08