PARTICIPANTS / XIAN PROJECT* Hans Bernhard Is a Vienna And
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Conspiracy Lecture V2, ROTTERDAM, Curated by Stephen Kovats
Conspiracy Lecture V2, ROTTERDAM, curated by Stephen Kovats Introduction by Stephen Kovats TANGENT_CONSPIRACY V2_Institute for the Unstable Media 20.00, Friday, December 01, 2006 www.v2.nl Long before a clandestine military-academic collaboration created the 1960's ARPANET the speculative mechanisms of conspiracy theories have fueled global events. The internet and it's growing Web 2.0 counterpart have moved beyond the realm of information exchange and redundancy to become the real-time fora of narrative construction. Fuelling and fanning all forms of popular speculation the net now creates its own post-modern mythologies of world domination, corporate control and government induced fear fetishism. If the net itself is not a conspirative construct designed to control and influence global intellectual expression then, rumour has it, it plays the central role in implying as much. Has the internet now become a self-fullfiling prophecy of its own destructive speculation? V2_, in collaboration with the Media Design group of the Piet Zwart Institute, invites you to join Florian Cramer, Claudia Borges, Hans Bernhard and Alessandro Ludovico in an evening of net-based conspiracy built upon abrasive speculation, conjectural divination and devious webbots. ------------------ Alessandro Ludovico, editor in chief of Neural, has been eavesdropped upon electronically for most of his life due to his hacktivist cultural activities. Promoting cultural resistance to the pervasiveness of markets, he is an active supporter of ideas and practices that challenge the flatness of capitalism through self-organized cooperation and cultural production. Since 2005 he has been collaborating with Ubermorgen and Paolo Cirio in conceptually conspiring against the smartest marketing techniques of major online corporations. -
Press Release "Gwei - Google Will Eat Itself"
PRESS RELEASE "GWEI - GOOGLE WILL EAT ITSELF" Vienna, Bari, 26 December 2005 We generate money by serving Google text advertisments on a network of hidden Websites. With this money we automatically buy Google shares. We buy Google via their own advertisment! Google eats itself - but in the end "we" own it! By establishing this model we deconstruct the new global advertisment mechanisms by rendering them into a surreal click-based economic model. After this process we hand over the common ownership of "our" Google Shares to the GTTP Ltd. [Google To The People Public Company] which distributes them back to the users (clickers) / public. A bit more in detail One of Google's main revenue generators is the "Adsense"* program: It places hundreds of thousands of little Google text-ads on websites around the world. Now we have set up a vast amount of such Adsense-Accounts for our hidden Web-Sites. For each click we receive a micropaiment from Google. Google pays us monthly by cheque or bank-transfer to our Swiss e-banking account. Each time we collected enough money, we automatically buy the next Google share [NASDAQ: GOOG, todays value ~430.- USD] - we currently own 40/forty Google Shares. Important: Google Will Eat Itself works by using a social phenomenon rather than depending on a purely technical method (for example a simple click-farm). Because of this social dimension empowered by technology, Google is not able to fight GWEI and it`s franchises by using their regular counter-fraud methods. GWEI - Google Will Eat Itself is to show-case and unveil a total monopoly of information , a weakness of the new global advertisment system and the renaissance of the “new economic bubble" - reality is, Google is currently valued more than all Swiss Banks together (sic!). -
CAN ART HISTORY DIGEST NET ART? Julian Stallabrass from Its
165 CAN ART HISTORY DIGEST NET ART? Julian Stallabrass From its beginnings, Internet art has had an uneven and confl icted relation- ship with the established art world. There was a point, at the height of the dot-com boom, when it came close to being the “next big thing,” and was certainly seen as a way to reach new audiences (while conveniently creaming off sponsorship funds from the cash-rich computer companies). When the boom became a crash, many art institutions forgot about online art, or at least scaled back and ghettoized their programs, and that forgetting became deeper and more widespread with the precipitate rise of con- temporary art prices, as the gilded object once more stepped to the forefront of art-world attention. Perhaps, too, the neglect was furthered by much Internet art’s association with radical politics and the methods of tactical media, and by the extraordinary growth of popular cultural participation online, which threatened to bury any identifi ably art-like activity in a glut of appropriation, pastiche, and more or less knowing trivia. One way to try to grasp the complicated relation between the two realms is to look at the deep incompatibilities of art history and Internet art. Art history—above all, in the paradox of an art history of the contemporary— is still one of the necessary conduits through which works must pass as they move through the market and into the security of the museum. In examining this relation, at fi rst sight, it is the antagonisms that stand out. Lacking a medium, eschewing beauty, confi ned to the screen of the spreadsheet and the word processor, and apparently adhering to a discred- ited avant-gardism, Internet art was easy to dismiss. -
Selling and Collecting Art in the Network Society
PAU | PAU WAELDER SELLING AND COLLECTING ART IN THE NETWORK SOCIETY NETWORK THE IN ART COLLECTING AND SELLING PhD Dissertation SELLING AND COLLECTING ART IN THE NETWORK SOCIETY Information and Knowledge Society INTERACTIONS Doctoral Programme AMONG Internet Interdisciplinary Institute(IN3) Universitat Oberta de Catalunya (UOC) CONTEMPORARY ART NEW MEDIA AND THE ART MARKET Pau Waelder Thesis Directors Dr. Pau Alsina Dr. Natàlia Cantó Milà PhD Dissertation SELLING AND COLLECTING ART IN THE NETWORK SOCIETY INTERACTIONS AMONG CONTEMPORARY ART, NEW MEDIA, AND THE ART MARKET PhD candidate Pau Waelder Thesis Directors Dr. Pau Alsina Dr. Natàlia Cantó Milà Thesis Committee Dr. Francesc Nuñez Mosteo Dr. Raquel Rennó Information and Knowledge Society Doctoral Programme Internet Interdisciplinary Institute(IN3) Universitat Oberta de Catalunya (UOC) Barcelona, October 19, 2015 To my brother David, who taught me what computers can do. Cover image: Promotional image of the DAD screen displaying the artwork Schwarm (2014) by Andreas Nicolas Fischer. Photo: Emin Sassi. Courtesy of DAD, the Digital Art Device, 2015. Selling and collecting art in the network society. Interactions among contemporary art, new media and the art market by Pau Waelder is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License. ACKNOWLEDGEMENTS The present dissertation stems from my professional experience as art critic and curator, Sassoon, Shu-Lea Cheang, Lynn Hershmann-Leeson, Philippe Riss, Magdalena Sawon as well as my research in the context of the Information and Knowledge Society Doctoral and Tamas Banovich, Kelani Nichole, Jereme Mongeon, Thierry Fournier, Nick D’Arcy- Programme at the Internet Interdisciplinary Institute (IN3) – Universitat Oberta de Fox, Clara Boj and Diego Díaz, Varvara Guljajeva and Mar Canet, along with all the artists Catalunya. -
Robert Starer: a Remembrance 3
21ST CENTURY MUSIC AUGUST 2001 INFORMATION FOR SUBSCRIBERS 21ST-CENTURY MUSIC is published monthly by 21ST-CENTURY MUSIC, P.O. Box 2842, San Anselmo, CA 94960. ISSN 1534-3219. Subscription rates in the U.S. are $84.00 (print) and $42.00 (e-mail) per year; subscribers to the print version elsewhere should add $36.00 for postage. Single copies of the current volume and back issues are $8.00 (print) and $4.00 (e-mail) Large back orders must be ordered by volume and be pre-paid. Please allow one month for receipt of first issue. Domestic claims for non-receipt of issues should be made within 90 days of the month of publication, overseas claims within 180 days. Thereafter, the regular back issue rate will be charged for replacement. Overseas delivery is not guaranteed. Send orders to 21ST-CENTURY MUSIC, P.O. Box 2842, San Anselmo, CA 94960. e-mail: [email protected]. Typeset in Times New Roman. Copyright 2001 by 21ST-CENTURY MUSIC. This journal is printed on recycled paper. Copyright notice: Authorization to photocopy items for internal or personal use is granted by 21ST-CENTURY MUSIC. INFORMATION FOR CONTRIBUTORS 21ST-CENTURY MUSIC invites pertinent contributions in analysis, composition, criticism, interdisciplinary studies, musicology, and performance practice; and welcomes reviews of books, concerts, music, recordings, and videos. The journal also seeks items of interest for its calendar, chronicle, comment, communications, opportunities, publications, recordings, and videos sections. Typescripts should be double-spaced on 8 1/2 x 11 -inch paper, with ample margins. Authors with access to IBM compatible word-processing systems are encouraged to submit a floppy disk, or e-mail, in addition to hard copy. -
Contentious Politics, Culture Jamming, and Radical
Louisiana State University LSU Digital Commons LSU Master's Theses Graduate School 2009 Boxing with shadows: contentious politics, culture jamming, and radical creativity in tactical innovation David Matthew Iles, III Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_theses Part of the Political Science Commons Recommended Citation Iles, III, David Matthew, "Boxing with shadows: contentious politics, culture jamming, and radical creativity in tactical innovation" (2009). LSU Master's Theses. 878. https://digitalcommons.lsu.edu/gradschool_theses/878 This Thesis is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Master's Theses by an authorized graduate school editor of LSU Digital Commons. For more information, please contact [email protected]. BOXING WITH SHADOWS: CONTENTIOUS POLITICS, CULTURE JAMMING, AND RADICAL CREATIVITY IN TACTICAL INNOVATION A Thesis Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Master of Arts in The Department of Political Science by David Matthew Iles, III B.A., Southeastern Louisiana University, 2006 May, 2009 ACKNOWLEDGEMENTS This thesis was completed with the approval and encouragement of my committee members: Dr. Xi Chen, Dr. William Clark, and Dr. Cecil Eubanks. Along with Dr. Wonik Kim, they provided me with valuable critical reflection whenever the benign clouds of exhaustion and confidence threatened. I would also like to thank my friends Nathan Price, Caroline Payne, Omar Khalid, Tao Dumas, Jeremiah Russell, Natasha Bingham, Shaun King, and Ellen Burke for both their professional and personal support, criticism, and impatience throughout this process. -
Ubermorgen.Com Pressfolder English
1 UBERMORGEN.COM PRESSFOLDER ENGLISH Contact .. UBERMORGEN.COM Favoritenstrasse 26/5 A-1040 Vienna / Austria [email protected] +43 (0)650 930 0061 2 CV HANS BERNHARD (AT/CH/USA) • born 1971 in New Haven, CT, USA • Schools in Switzerland and / USA • University for applied art Vienna, Peter Weibel, Visual Media Creation (Master degree) • Lives and works in Vienna and St. Moritz (Switzerland). Known Aliases: hans_extrem, etoy.HANS, etoy.BRAINHARD, David Arson, Dr. Andreas Bichlbauer, h_e, net_CALLBOY, Luzius A. Bernhard, Andy Bichlbaum, Bart Kessner. Visual Communications, digit Art, Art History and Aesthetics at the University for applied Art Vienna (Austria), UCSD University of California San Diego (Lev Manovich), Art Center College of Design in Pasadena (Peter Lunenfeld and Norman Klein) and at the University Wuppertal (Bazon Brock). Master in fine art from the University of applied Art Vienna. Hans is a professional artist and creative thinker, working on art projects, researching digital networks, exhibiting and travelling the world lecturing at conferences and Universities. Founding member of etoy (the etoy.CORPORATION) and UBERMORGEN.COM. "His style can be described as a digital mix between Andy Kaufman and Jeff Koons, his actions can be seen as underground Barney and early John Lydon, his "Gesamtkunstwerk" has been described as pseudo duchampian and beuyssche and his philosophy is best described in the UBERMORGEN.COM slogan: "It's different because it is fundamentally different!" Bruno Latour Prix Ars Electronica: 1996 Hans Bernhard was awarded a golden Nica for „the digital hijack by etoy“, 2005 with UBERMORGEN.COM he received an Award of Distinction for the [V]ote- auction project [ http://www.vote-auction.net ] and two additional honorary mentions. -
Liner Notes, Visit Our Web Site
Christian Wolff and the Politics of Music David Tudor, with characteristic perspicacity, noticed the influence of children (of being a parent) in Christian Wolff’s music-making. “While working with David Tudor on Burdocks, he said that he could see the results of having small kids around—my music had loosened up.”1 Becoming a parent, bringing a human being into the world, makes one more aware of ideological constraints and pressures. A domestic culture vies with a prevailing dominant culture which is predatory, aggressive, and individualistic, a day-to-day confrontation of irreconcilable attitudes. The informality of Wolff’s indeterminate music-making from the Sixties and early Seventies, culminating in Burdocks (1970–1), is an integral part of that domestic culture and strives to instill and safeguard values that are at odds with those from without which threaten to engulf us. Michael Chant succinctly characterizes the essence of the philosophical issue at hand: Collective work and experience stands against what is being promoted on all fronts as the “me” culture, where the issue, for example, becomes that art has importance because it expresses “my” life, “I” did this first, or it gratifies “me.” This can only contribute to the general crisis of society.2 Music is an integral part of the fabric of our social existence. In the early Seventies raising a family coincided with a political involvement, expressed unequivocally in Wolff’s music, moving (ideologically) from what he characterized as democratic libertarianism (anarchism) toward democratic socialism, which in one way or another was supported and promoted by the use of political songs and texts. -
1 Sol Lewitt One-Art#DF1DB4
SOL LEWITT SELECTED ONE-ARTIST EXHIBITIONS Born, Hartford, Connecticut, 1928 B.F.A., Syracuse University, 1949 Died, New York, New York, 2007 1965 John Daniels Gallery, New York, May 4–29, 1965. 1966 Dwan Gallery, New York, April 1–29, 1966. 1967 Dwan Gallery, Los Angeles, May 10–20, 1967. 1968 Galerie Konrad Fischer, Düsseldorf, January 6–February 3, 1968. Dwan Gallery, New York, February 3–28, 1968. Galerie Bischofberger, Zürich, February 8–March 14, 1968. Galerie Heiner Friederich, Munich, February 13–March 8, 1968. 1968–1969 Ace Gallery, Los Angeles, December 2, 1968–January 11, 1969. (Catalogue) 1969 Galerie Konrad Fischer, Düsseldorf, April 22–May 16, 1969. Galleria L'Attico, Rome, May 2–20, 1969. Galerie Ernst, Hannover, Germany Wall Drawings, Dwan Gallery, New York, October 4–30, 1969. Sol LeWitt: Sculptures and Wall Drawings, Museum Haus Lange, Krefeld, Germany, October26–November 30, 1969. (Catalogue) Galerie Bischofberger, Zürich 1970 Art & Project, Amsterdam, opened January 2, 1970. Wisconsin State University, River Falls, April 14–May 8, 1970. Galerie Yvon Lambert, Paris, June 4–27, 1970. Wall Drawings, Galleria Sperone, Turin, June 12–28, 1970. Dwan Gallery, New York Lisson Gallery, London, June 15–July 24, 1970. Gemeentemuseum, The Hague, July 25–August 30, 1970. (Catalogue) Galerie Heiner Friederich, Munich, September 1970. 1970–1971 Pasadena Art Museum, California, November 17, 1970–January 3, 1971. (Catalogue) 1971 Art & Project, Amsterdam, opened January 4, 1971. Wall Drawings, Protetch-Rivkin Gallery, Washington, D.C., opened April 17, 1971. Prints and Drawings, Dwan Gallery, New York, May 1–26, 1971. Lisson Gallery, London, June 1971. -
Ebrochure (PDF)
Inke Arns STORYTELLERS OF THE INFORMATION AGE On the role of narrative in UBERMORGEN.COM’s work 1 “A minor literature doesn’t come from a minor language; it is rather that which a minority constructs within a major language”2 Gilles Deleuze & Félix Guattari The last fifteen years of net art, media and net activism have been a time of intensive story telling. Against the prevailing narrative of the “frontier” once proposed by John Perry Barlow3 – which some have dubbed the “Californian Ideology”4 – we have seen the emergence of counternarratives, such as “Temporary Autonomous Zones” (TAZ), for example.5 A public consisting not only of net aficionados remembers the heroic David vs. Goliath confrontation between a global toy retailer and a small group of net artists in 1999/2000, which the artists won thanks to the Toywar campaign that mobilized its 1 I would like to thank Johannes Auer who invited both Hans Bernhard and myself to two literature events in Stuttgart (D) in 2007 and 2008 which led me to think more in depth about the crucial role of narrative in UBERMORGEN.COM’s work: Hans Bernhard im Gespräch mit Inke Arns, “Netz(kunst)aktivismus. UBERMORGEN.COM + friends”, in tell. net, Stadtbücherei Stuttgart, January 17, 2007; Hans Bernhard im Gespräch mit Inke Arns, “Erzählungen als Strukturelement von Medienaktivismus”, in Literaturfestival Stuttgart, April 17/18, 2008. 2 Gilles Deleuze & Félix Guattari, Kafka. Toward a Minor Literature, University of Minnesota Press, p. 16. 3 John Perry Barlow, “A Declaration of the Independence of Cyberspace”, 1996, online at homes.eff.org/~barlow/Declaration-Final.html (last accessed January 2, 2009). -
Mda Portfolio Sw Englisch Kor.Indd
MARIA DE ALVEAR COMPOSER The German-Spanish composer Maria de Alvear was officially honoured with the Spanish National Award for Music on June 1, 2016. King Felipe VI and Queen Leticia of Spain presented Maria de Alvear with the prize in Palencia Cathedral. Laudation: The jury commended Maria de Alvear for her prolific output and the international appeal of her works, for her pioneering role in the conception of musical works as complete artistic syntheses, for her interdisciplinary approach with its constant openness to partners from other artistic spheres, for her extra- ordinary ability to channel musical influences in a transgressive manner and for her strong commitment to younger composers. Short biography: Maria de Alvear was born in Madrid, and has been living and working in Cologne for more than 35 years. She was awarded the Bernd Alois Zimmermann Prize of the City of Cologne early on in her career, and studied New Music Theatre under Mauricio Kagel. Since 1998, she has collaborated regularly with video artists, both with her sister Ana de Alvear and the British artist Isaac Julien. In the same year, she founded the music publishing house WORLD EDITION. Since 2003, she has been publishing the journal „KUNST- MUSIK - Writings on art as music“. Her works, which are mostly interdiscipli- nary and make use of a variety of media, are performed worldwide by many well-known interpreters, such as Ensemble Modern, the Basel Sinfonietta, En- semble Musikfabrik and the Frankfurt Radio Symphony (hr-Sinfonieorchester). She works together with numerous soloists, orchestras and ensembles across the world. She has given many concerts in Europe, the USA and Canada at a number of prestigious venues, including the Glenn Gould Concert Hall, Toronto, the Lin- coln Center, New York, the Donaueschingen Festival, the International Summer Course for New Music in Darmstadt, the Hellerau Festival Theatre, the Univer- sity of Waterloo, Ontario, and the Museo Nacional Centro de Arte Reina Sofia, Madrid. -
Roland Dahinden Hildegard Kleeb Stones
Roland Dahinden Hildegard Kleeb Stones The music of Roland Dahinden and Hildegard Kleeb has Anthony Braxton; they’ve also created the remarkable collage grown from a combination of individual vir- composition Anthony Braxton (+ Duke Ellington): Concept of tuosity, a shared life, a special environment Freedom (hatOLOGY). The duo itself, however, only emerged and the gradual mutation and transforma- on record with the revelatory 2012 release Recall Pollock (Leo tion of things in time. Stones is the expres- Records), a merging of lines in homage to history’s greatest line sion of all of those things as well as a very thrower. The duo music and its special quality are a direct con- special musical conception that generates sequence of Dahinden and Kleeb’s relationship and environ- different patterns, cycling forwards and ment. “Hildegard and I,” says Dahinden, “have played togeth- backwards, inwardly and outwardly. er for about 30 years, living together and having a family togeth- Dahinden and Kleeb have er. There are all aspects of our life in the music. We have a level worked together on a variety of projects for of communication which is quite particular, one that can only decades, including performances of music develop over a very long time playing together. Stuart Broomer, February 2016 February Broomer, Stuart by Cage and Feldman and work with “As a musician couple, I hear Hildegard’s daily practicing, searching for new musical structures, lines, series of chords, clusters—so I get an inside ‘look’ already into her research and solo practicing which influences the duo music. Having this inside knowledge or ‘look’ is extremely fruitful and differs from all other projects and bands that we work with.