DOCSLIB.ORG

John Duncan Exhibitions

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
John Duncan Exhibitions 1 October JOHN DUNCAN MANTRA solo concert Fylkingen, Stockholm Curated by Joachim Nordwall EXHIBITIONS and CONCERTS 2017 19 – 20 January 12 - 16 October MANTRA solo concert + workshop WORDS BROKEN VOICE MISSING MESSAGE KHM Köln FAILED workshop + concert Curated by Hans W. Koch + Dirk Specht Cirkulacija2, Ljubljana Curated by Stefan Doepner 25 January – 15 February JOHN DUNCAN: HEAVY, USELESS, NO SENSE OF 24 October HUMOR Concert with Eiko Ishibashi Trio + G. di Domenico Solo exhibition Il Torrione, Ferrara Narkissos Gallery, Bologna Curated by Eiko Ishibashi Curated by Yelena Mitrjushkina 11 November 17 June – 10 October John Duncan Films The Nazca Transmissions included in Alienation: First Street Studio, Austin Momentum 9 Biennial Curated by Tara Battacharya Reed for Antumbrae Moss, Norway Intermedia Curated by Jacob Lillemose 12 November 2016 MANTRA solo concert 5 - 8 May First Street Studio, Austin AngelicA 2016 Curated by Tara Battacharya Reed for Antumbrae Ellen Fullman solo + Konrad Spengler duet Intermedia James Hamilton, France Jobin, Carine Masutti Sons of God + TERRA AMARA: John Duncan with 2015 Coro Arcanto 15 January - 28 February Teatro San Leonardo, Bologna The NAZCA TRANSMISSIONS LP included in Fühlst Curated by John Duncan du Nicht an Meinen Liedern dass Ich Eins und Doppelt Bin 13 May Gallery Peter Kilchmann, Zurich RED SKY included in KREV events Curated by Mateo Chacon-pino and Adriana Dada 100 Years Dominguez Cabaret Voltaire, Zurich Other artists include Michael Najjar, Maria Garcia Curated by Adrian Notz Ibañez, Pascal Schwaighofer, Javier Téllez, and Melanie Smith 19 May MANTRA + CAGED + DARK + RED SKY included in 8 May Spring Attitude 2016 Pani Per I Poveri MAXII, Rome Teatro Marinoni Curated by Caterina Tomeo Venice Lido Venice, Italy 18 June - 22 August Vaporetto 1 SCARE lifesize photo included in Omul Negru Gallerai Nicodim, Bucharest 04 - 05 June Nicodim Gallery, Los Angeles MANTRA Curated by Aaron Moulton Solo concerts included in Immerson 7, Montreal Supported by BIAS and Oboro 28 September Produced by France Jobin MANTRA solo concert Instants Chavires, Montreuil 6 June Curated by JF Pichard Master class at Oboro, Montreal Supported by BIAS and Oboro 29 September Produced by France Jobin and Oboro MANTRA solo concert Mayhem, Copenhagen 27 August Curated by Tobias Kirstein MANTRA Solo concert at Flussi Festival, Avellino 30 September Produced by Mimmo SEC_ MANTRA solo concert Inkonst, Malmø 1 - 13 September Curated by Elena Smon Wolay Residency at EMS, Stockhlolm 8 March 5 December Lecture MANTRA CCA Kitakyushu Solo concert at Swedish Energies 2015 Kitakyushu, Japan Issue Project Room, Brooklyn NY Organized by Akiko Miyake 2014 9 March 27 February - 29 March Decoding Duncan TWO SOLOS installation included in Sixto Notes 1979- Opening, solo exhibition at Fukugan Gallery, Osaka 2014 at Farmacia Wurmkos, Milan Curated by Dr. Takuya Sakaguchi and Noriko Murata Curated by Roberto Taroni 10 March 05 - 15 March Concert with Hijokaidan and Jim O'Rourke at Super Decoding Duncan Deluxe, Tokyo Video + MUSIC - YOU FINISH collaboration included in Produced by Mike Kubeck Slow Life Avant-garde Fest Fukugan Gallery, Osaka 25 May - 24 June Produced by Takuya Sakaguchi and Fukugan Gallery RAGE ROOM panels and video included in TATORT - A History of (Mostly) Violence 6 - 25 April Gallery Niklas Belenius, Stockholm ROOT video included in Va tutto bene Casabianca, Bologna 13 September Curated by Lelio Aiello Solo concert included in l'Audible 2013 Instants Chavirés, Montreuil 9 May 19:00 Produced by Jerôme Noetinger PRAYER 13 Solo concert 26-27 October 23:00-06:00 Alte Schmiede, Vienna NARCOMANTIC all-night concert with video projections Produced by Volkmar Klien by Ursula Scherrer Recorded live for 4-channel broadcast over Kunstradio, Friedenkirche, Mülheim (Köln) ORF on Sunday 11 May from 23:03 UTC+2, streamed [email protected] live in stereo on Friday via oe1.orf.at Produced by Georg Dietzler Produced by Elisabeth Zimmermann 1 November 21 - 24 August Solo concert Recent videos included in Slow Life Avant Garde CodaLunga, Vittorio VenetoProduced by Nico exhibition Vascellari Toki Art Space, Tokyo Sion Bldg. 1F, 3-42-5 Jingumae, Shibuya-ku, Tokyo NARCOMANTIC all night concert with video projections Curated by Takuya Sakaguchi by Ursula Scherrer Mindpirates e.V. 2013 Falkensteinstr. 48, Berlin 17 January Produced by Manuela Benetton with support from Pro The BUNKER Helvetia Solo concert included in ART'S BIRTHDAY Mistelbach, Austria 6 November Participants include alien productions [Martin Breindl, John Duncan New Video Norbert Math, Andrea Sodomka] (A/I), Heinz Cibulka Liebig 12, Berlin (A), Roberto Paci Daló (I), Ricarda Denzer (A), John Produced by Allegra Solitude Duncan (USA), elffriede.aufzeichnensysteme (D), Ivan Palacký (CZ), Jörg Piringer (A) 7 November Produced by alien productions, ORF Solo concert Kunstradio and Museumszentrum Mistelbach Also included: Stephen O'Malley, Bill Orcutt Nefertiti 1 February Hvitfeldtsplatsen 6, Gothenburg Tastend Produced by Joachim Nordwall Performance with Ursula Scherrer and four blinded participants 8 November Gasometer Solo concert Triesen, Liechtenstein Also included: Stephen O'Malley, Mats Gustafsson, Produced by Barbara Geyer Mary Shelley & St Catharina, Henrik Rylander, Rune Lindblad (tape piece) 7 March Fylkingen, Stockholm 4-channel solo concert Produced by Joachim Nordwall CCA Kitakyushu Kitakyushu, Japan 9 November Produced by Akiko Miyake Solo concert Mayhem www.nicodimgallery.com Copenhagen Como, Italy Produced by Tobias Kirstein Produced by Andrea Lissoni 13 November 19 February Solo concert Solo concert included in Rotor Festival Madrid ZKM Klangdom, Karlsruhe Produced by Andres Noarbe Produced by Till Kniola 28 April MONUMENTS MODELS 14-15 November Split solo show with Carl Michael von Hausswolff Workshop Galerie Mario Mazzoli, Berlin ZKM, Karlsruhe Produced by Till Kniola 27 April Video screenings with Carl Michael von Hausswolff at 19 November Liebig 12 Berlin, showing Electra, Texas (von Solo concert Hausswolff) and Rage Room (Duncan) EINSTEIN kultur Einsteinstr. 42, München 26 + 27 May Produced by Horst Konietzny Solo concerts at Moers Festival Moers, Germany 26 November Solo concert 4 - 11 August Signal Festival: Da Dove Sto Chiamando Workshop Auditorium Comunale If You Can't Find God, ____________ Piazza Dettori 1, Cagliari Searching for a wordless truth with the ears Produced by Alessandro Olli Weinviertler Fotowochen 2012 Museum Hermann Nitsch 2012 Mistelbach, Austria opening 14 January Produced by Alien Productions for FLUSS Recordings and artwork included in Beneath the Valley of the Lowest Form of Music: LAFMS at The Box 12 August 23.03 - 23.45 The Box, Los Angeles BEACON Live radio broadcast from Studio RP4 20 January Kunstradio Solo concert and performance included in Spirit ORF National Radio, Vienna Resurrection produced by Liz Glynn Produced by Elisabeth Zimmermann Pacific Standard Time Getty Center, Los Angeles 19 October - 17 November MOLD MAP and SELF PORTRAIT in MOLD 29 January included in AL QUARTO GIORNO NON SI RISORGE Solo concert included in The Immanent Lie at NK (apologia della muffa) Berlin ON THE FOURTH DAY IT DOES NOT REVIVE (in defense of mold) 09 February curated by Stefano Rovatti, Patrizia Silingardi, Sonia Solo concert Schiavone Mayhem melepere arte contemporanea Also with Runar Magnussen, TR Kirstein, Petur via Sottoriva 12, 37121 Verona Eyvindsson, Ymers Pizza blog Ragnhildgade 1 Kbh NV, Copenhagen Artworks and installations created from mold by John Duncan, Adriano Persiani, Katharina Dieckhoff, Stefano 10 February W. Pasquini, Christian Rainer, Chiara Soldati, Ascanio Solo concert Tacconi, Karin Andersen, Mustafa Sabbagh, Silvia Skånes Konstförening Giachello, TTzoi, Matteo Serri, Silvio Macini, Otolab, Bragegatan 15, Malmö Andrea Bruno, Irene Maccagnani, Enrica Berselli, Simone Rondelet 11 February With the participation of FranKo B, Vicky Roditis, Dario Solo concert included in Smoke On The Water Parisini Interzona, Mirko Fabbri, Elena Baldi organized by Netwerk Presentation and reading from Quattro Giorni Bianchi Aalst, Belgium by Stefano Rovatti (Bologna 2012, Giraldi Editore) 12 February 1 December Solo concert NARCOMANTIC Sonic Concert with Ursula Scherrer, multiple video projection Face au 04 Quai des Etroits, Lyon 8-hour experiment in hypnosis and dream manipulation of a voluntary audience as they sleep 18 February Raum, Bologna NARCOMANTIC Produced by Silvia Fanti and Daniele Gasparinetti 8-hour experiment in hypnosis and dream manipulation of a voluntary audience as they sleep 2011 Included in Dream of Insomnia Workshop 02 - 21 February Fondazione Antonio Ratti 21 January - 20 February www.nicodimgallery.com Think of me as you will Samon Takahashi, Cath & Phil Tyler Solo exhibition: BLIND DATE, RAGE ROOM blood Video promo paintings, PLASMA MISSIVES Gallery Rod Bianco, Oslo 2010 in association with Gallery Niklas Belenius, Stockholm 21 February 17 February 21:00 THE TRACING Solo concert Video projection with live soundtrack Instants Chavires, Paris Three Days of Struggle 3 Produced by JF Also included: Charlemagne Palestine, Cromagnon, Family Underground 18 February 21:00 Presented by Codalunga Solo concert Via Martiri 20, Vittorio Veneto FESTIVAL CABLE#4, Nantes Curated by Nico Vascellari Also included: THOMAS ANKERSMIT (nl), ARTEMISIA ABSINTHIUM (fr), BOGAN GHOST (usa/aus), MARTIN 27 March 13:00 - 18:00 BRANDLMAYR (at), CHAUSSE TRAPPE (fr), Solo concert CHRISTOPHE CARDOEN & MARC PICHELIN (fr), COSEY
Load more

Recommended publications
  • Cyberarts 2021 Since Its Inception in 1987, the Prix Ars Electronica Has Been Honoring Creativity and Inno- Vativeness in the Use of Digital Media
    Documentation of the Prix Ars Electronica 2021 Lavishly illustrated and containing texts by the prize-winning artists and statements by the juries that singled them out for recognition, this catalog showcases the works honored by the Prix Ars Electronica 2021. The Prix Ars Electronica is the world’s most time-honored media arts competition. Winners are awarded the coveted Golden Nica statuette. Ever CyberArts 2021 since its inception in 1987, the Prix Ars Electronica has been honoring creativity and inno- vativeness in the use of digital media. This year, experts from all over the world evaluated Prix Ars Electronica S+T+ARTS 3,158 submissions from 86 countries in four categories: Computer Animation, Artificial Intelligence & Life Art, Digital Musics & Sound Art, and the u19–create your world com - Prize ’21 petition for young people. The volume also provides insights into the achievements of the winners of the Isao Tomita Special Prize and the Ars Electronica Award for Digital Humanity. ars.electronica.art/prix STARTS Prize ’21 STARTS (= Science + Technology + Arts) is an initiative of the European Commission to foster alliances of technology and artistic practice. As part of this initiative, the STARTS Prize awards the most pioneering collaborations and results in the field of creativity 21 ’ and innovation at the intersection of science and technology with the arts. The STARTS Prize ‘21 of the European Commission was launched by Ars Electronica, BOZAR, Waag, INOVA+, T6 Ecosystems, French Tech Grande Provence, and the Frankfurt Book Fair. This Prize catalog presents the winners of the European Commission’s two Grand Prizes, which honor Innovation in Technology, Industry and Society stimulated by the Arts, and more of the STARTS Prize ‘21 highlights.
    [Show full text]
  • Prix Ars Electronica 2021
    Now open for submissions: Prix Ars Electronica 2021 (Linz, 13 January, 2021) Projects can be submitted to the Prix Ars Electronica 2021 from now until 3 March in the following categories: Computer Animation, Artificial Intelligence & Life Art, u19 – create your world, and Digital Musics & Sound Art (now featuring the “Isao Tomita Special Prize”). This year, entrants will also have the opportunity to submit their projects to the new “Ars Electronica Award for Digital Humanity,” made possible by the Austrian Federal Ministry for European and International Affairs. All projects and works submitted for the Prix Ars Electronica can also be nominated for the STARTS Prize. An overview of the Prix Ars Electronica 2021: Computer Animation … ... is open to independent art and science works, as well as commercial high-end productions from the film, advertising and entertainment industries. Artistic originality counts as much as excellent technical performance. Submissions may include experimental approaches based on expanded interpretations of computer animation that go beyond the screen in both artistic and technical terms. Digital Musics & Sound Art ... ... is looking for contemporary digital sound productions from the broad spectrum of “electronica”: from works that combine sound and media, to electro-acoustic or experimental computer compositions, to sound installations. Regardless of media or genres, the focus is on the musical and sonic qualities of the submitted works. … and the Isao Tomita Special Prize This year’s jurors will be the first to award the 5000-euro Isao Tomita Special Prize in the category Digital Musics & Sound Art. The prize is named after the Japanese pioneer of electronic music who died in 2016.
    [Show full text]
  • LA MUSICA D'avanguardia (Provenienza Sconosciuta
    LA MUSICA D’AVANGUARDIA (provenienza sconosciuta!!) Presentazione Questo volume si propone di fornire una panoramica, la piu' aggiornata possibile, sui fenomeni musicali che esulano dalle correnti tradizionali del rock, del jazz e della classica, e che rappresentano in senso lato l'attuale "avanguardia". In tal senso l'avanguardia, piu' che un movimento monolitico e omogeneo, appare come una federazione piu' o meno aperta di tante scuole diverse e separate. Alcune costituiscono la cosiddetta "contemporanea" (capitoli 1-7), figlia dell'avanguardia classica; altre sono scaturite della sperimentazione dei complessi rock (capitoli 8-10); altre ancora appartengono al nuovo jazz, e non fanno altro che legittimare una volta per tutte il jazz nel novero della musica "intellettuale" (capitoli 11-13); la new age, infine, sfrutta le suggestioni delle scuole precedenti (capitoli 14-17). Piuttosto che un'introduzione generale ci sembra allora piu' opportuno fornire una presentazione capitolo per capitolo: 1. L'avanguardia popolare. Per avanguardia si intendeva un tempo soltanto l'avanguardia classica. A dimostrazione di come i tempi siano cambiati, questo libro e' in gran parte dedicato a musicisti che hanno le loro origini nel rock, nel jazz o nella new age. In questo primo capitolo ci proponiamo di fornire una panoramica storica sulla nascita dei movimenti musicali che hanno introdotto le novita' armoniche, acustiche, ideologiche su cui speculano tuttora gli sperimentatori moderni. Ci premeva anche trasmettere la sensazione che esista una qualche continuita' fra i lavori di Varese e Stockhausen (per citarne due particolarmente famosi) e i protagonisti di questo libro. 2. Minimalismo. La scuola minimalista degli anni Settanta era chiaramente delimitata.
    [Show full text]
  • Almanac, 05/24/94, Vol. 40, No. 34
    INSIDE • Senate: More Nominations, p. 2 • Of Record: Faculty Grievance Changes, p. 2 • A-3 Assembly: Thanks and What’s Next, p. 2 • Commencement in Speech & Song, pp. 3-7 • Honors & Other Things, pp. 8-11 • Speaking Out, pp. 12-13 • Council May 14: Revlon, ROTC, Etc., p. 13 • Of Record: Electronic Records, p. 14 • Of Record: Recognized Holidays, p. 15 • CrimeStats, Bulletins, p. 15 • Benchmarks: Dr. Cisneros is Proud.... p. 16 Pullout: Summer at Penn Tuesday, May 24, 1994 Published by the University of Pennsylvania Volume 40 Number 34 Teaching Award in Nursing: Kathryn Sabatino Kathryn Sabatino (right), clinical instructor at the School of Nursing, has been named recipient of the School’s 1994 Teaching Award. Ms. Sabatino received the award at the School’s Commencement on May 18. Her students said she is “equally adept in many teaching settings. In all cases her teaching is notably coherent and intellectually challenging, coupled with a personal, honest caring for her students and the material.” Established in 1983, the award is presented annually to a faculty member for excellence in classroom and/or clinical teaching. Ms. Sabatino joined the nursing faculty as a part-time clinical instruc- tor-lecturer in September 1990. She teaches sophomore students in their first in-hospital clinical nursing courses. In addition to serving on the faculty and teaching courses in nursing theory and practice, physiology and physical examination, Ms. Sabatino is a clinical nurse specialist in surgical nursing at HUP. As a clinical nurse specialist she is involved in patient care as well as nursing staff education and research.
    [Show full text]
  • No. 23 February 24, 1981
    Tuesday, February 24, 1981 Volume 27, Number 23 Affirmative Action: Provost's Search: Call for Nominations First The Consultative Committee on the Selection of a Provost requests that nominations or Substance for the with documents, be sent by March 10, applications position, supporting Tuesday. At the end of Wednesday's meeting with to Professor Irving B. Kravis, in care of the Office of the Secretary, 121 College Hall/CO. some 30 faculty, staff and student members of Members of the community also are encouraged to make formal or informal University the University interested in affirmative action, to other members of the committee. Members include: suggestions President Sheldon Hackney announced that will with Irving B. Kravis, University Professor of Economics, chairman the University proceed the imple- mentation of its affirmative action March Jacob M. Abel, associate professor and chairman of mechanical engineering plan Diana L. Bucolo, FAS' 83 2, without waiting for final sign-off on data the of Federal Contract Dr. Peter A. Cassileth, professor of hematology-oncology displays by Office Helen C. Davies, associate professor of microbiology Compliance Programs. 2, Dr. on Irwin Friend, Edward J. Hopkinson Professor of Finance and Economics On page Hackney reports that and its for decision-mak- Henry B. Hansmann, assistant professor of law meeting implications Robert F. Lucid, professor and chairman of English ing styles. 'The sense of the was that we Larry Masuoka, Dental '83 meeting should not lose time in the substantive areas George Rochberg, Annenberg Professor of Humanities and Composer in Residence while for technical data to be Rosemary A.
    [Show full text]
  • 1985-87 Catalogue and Calendar
    Lincoln University 1985-87 Catalogue and Calendar On the covers and catalogue pages: The front and back covers of the 1985-87 Lincoln University Catalogue and Calendar depict a campus scene at the historic college in Chester County, PA, with its harmonious blend of renovated and modern structures. The renovated historic buildings shown (L-R) are: Amos Hall dormitory, Houston Hall dormitory, Vail Memorial Hall administrative building, and Cresson Hall dormitory. The photograph was taken by Jerome Harden, a former student. Additional photographs contained in the catalogue were taken also by Harden, campus photographer Milton Barbehenn, and others. Lincoln University, in compliance with Title IX of the Education Amendment of 1972 and other Civil Rights laws, offers equal opportunity for admission and employment. Moreover, the programs and activities of the University are offered to all students without regard to race, color, national origin, religion, age, physical disability I o receive an application packet, or more information on the University, write: LINCOLN UNIVERSITY A commitment to quality education since 1854. of the Commonwealth System Lincoln University of High er Education Office of Admissions Lincoln University, PA 19352 Or call (in Philadelphia) WA 5-9440, or (215) 932-8300 Lincoln University 1985-87 Catalogue & Calendar Published by the Department of Public Relations and Publications Sam W. Pressley, Director (Special thanksalso to Mrs. Sophy H. Cornwell,and Mrs. Janet E. Robinson) ^ I 1-—. Jl Table of Contents 1985-87 Trimester
    [Show full text]
  • JUL 2 3 2003 Archives LIBRARIES Table of Contents
    Experiments in Corporate Collaboration: The Case of the Ars Electronica FutureLab by Stephanie Davenport B.A. French Studies (1994) University of Pennsylvania Submitted to the Department of Comparative Media Studies in Partial Fulfillment of the Requirements for the Degree of Master of Science in Comparative Media Studies at the Massachusetts Institute of Technology May 2003 © Massachusetts Institute of Technology All rights reserved Signature of A uthor................................................ .... ..... ............. Department of Compafative Media Studies May 9, 2003 Certified by..........................................................................Wang Professor, Chinese Cultural Studies Affiliated Faculty, Comparative Media Studies Thesis Supervj or Accepted -by................................................. j . .. .. .. .. .. .. .. .. .. .. .. .. William Uricchio Professor & Acting Director, Comparative Media Studies MASSACHUSETTS INSTITUTE OF TECHNOLOGY JUL 2 3 2003 ARCHivEs LIBRARIES Table of Contents A bstract ............................. ................. ................... ........................................ ..... 3 A ckn ow ledgemnents ....................................................................................................................... 4 List of F ig u res ....................................................................................................................... 5 In tro du ction ................. ...................................................................................................
    [Show full text]
  • A Survey of Contemporary Sound Sculpture a Thesis
    A SURVEY OF CONTEMPORARY SOUND SCULPTURE A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN THE GRADUATE SCHOOL OF THE TEXAS WOMAN'S UNIVERSITY COLLEGE OF HUMANITIES AND FINE ARTS BY JAMES A. ESTES, B.A. DEN':I'ON, TEXAS MAY, 1987 TEXAS WOMAN'S UNIVERSITY Denton Texas April 22, 1987 To the Provost of the Graduate School: I am submitting herewith a thesis written by James A. Estes entitled "A Survey of Contemporary Sound Sculpture." I have Examined the final copy of this thesis for form and content and recommend that it be accepted in partial fulfillment of the requirements for the degree of Master of Arts, with a major in/// = :... ��Gr- e"" e:::::::: �n:::,�Ma==j =o=r==Pro_ f_ _e_s_s_ o_r _ We have read this thesis and recommend its acceptance Accepted Provost of the Gradrlate School __ _ ABSTRACT Sound sculpture and other closely related artforms have become increasingly prevalent within the last few decades. By means of a questionnaire, this study surveyed artists who use sound as an essential aspect of their work. The questionnaire was designed to establish some of the basic parameters and attributes of the current activity in the field, including type of work, artist and exhibition histories, economic support and audience profiles. In this way, the findings address the fundamental questions of who, what, when, where and how, both for individual artists and the group as a whole. The results of the study suggest the need of continued research founded on an interdisciplinary perspective in order to fully address the broader topics and scope of this genre.
    [Show full text]
  • ISEA~.Il Th International Symposium On
    ISEA~.Ilth International Symposium on Electronic Art. NAGOYA [Oral] 0304~27 - 2 1,2002. NAGOYA, JAPAN JSEhaom NAGOYA [w] ISEA2002, 1 I th International Symposium on Electronic Art, Nagoya [Oral] Oaob~27 - 31,2002 NAGOYA, JAPAN Exhitibions Electronic Theater Performances Concerts Warehouses, Garden Pier in port of Nagoya Nagoya Port Building NAGOYA CITY HIGASHI PLAYHOUSE Aichi Arts Center Preface Welcome to ISEA2002 NAGOYA! and expression, new media art is expected to yield communication and merge science and art, some of which we have already glimpsed. Thank you for your paper presentation from various fields and for your participation in the panel discussions. We welcome you to this event Pythagoras, a backbone of Western culture, defined the music of the with much enthusiasm and excitement. We hope that the ISEA2002 spheres as follows. 'In the sole universe containing all things, an object Nagoya will produce fruitful discussion and broaden the way of think- moves in accordance with mathematical law, so that this movement ing for electronic art. brings about the harmony. Individual spheres form in line at the inter- val corresponding to the length of strings originating chords. From ISEA2002 NAGOYA with the theme of [Orai] has the following goals. the movement of spheres, the music, in other words, the harmony of To provide a forum where various opinions spheres will be born.' This is his principle. We already have the technol- "come and go (i.e. [Orai])" relating to electronic art and ogy and media which provide us with heavenly music. media art. To provide a chance for electronic art to mutually The Chinese have a word "XR""tian wen": Characters (Letters) in the stimulate and corroborate on a "street (i.e.
    [Show full text]
  • The Infrastructure Behind Ars Electronica's Success by Frank Dietrich, Frank@Teleculture .Com 1999(?)
    Ars Electronica Success 1 File: arst.doc 9/00 Article Number: 00103 The Infrastructure Behind Ars Electronica's Success By Frank Dietrich, frank@teleculture .com 1999(?) This year Ars Electronica marked its 20th anniversary making this festival for art, technology, and culture one of the longest running and most important of its kind. What started in 1979 as a small congregation of computer art insiders, expanded to a week-long multitude of events in a variety of venues all over the city of Linz, Austria and eventually turned into a world-class event endowed with a renowned prize, the Prix Ars Electronica. Highlights of the Anniversary Festival The festival kicked off with an academic conference on `Life Sciences', designed to discuss technical strategies and potential problems of genetic engineering. Even though it was partially sponsored by the Swiss chemical giant, Novartis, the program brought together proponents and opponents making for a lively, controversial debate. Jeremy Rifkin, one of the most vocal critics of genetic engineering practices, gave a stimulating presentation based on his new book, "The Biotech Century" . The topic of genetic engineering is sure to occupy us well into the next century. The mailing list moderated by Klaus Amman, Director of the Botanical Garden in Bern, Switzerland [klaus.amman@ sgi.unibe.ch] offers an opportunity to stay in touch with the scientific issues surrounding this debate. Dozens of on-line Web projects and interactive art installations were on display in the lobby of the conference center. The presence of the creators, allowed the chance to personally interact and understand the nuances of their creations.
    [Show full text]
  • Ars Electronica: a Unique Platform for Digital Art and Media Culture © Ars Electronica
    Ars Electronica: A unique platform for digital art and media culture © Ars Electronica • Innovation • Attractiveness of the territory • Internationalisation • Urban regeneration • Education • Cross-sectorial collaboration Context Linz is the third-largest city of Austria and the capital of the state of Upper Austria. The population of the city is 193,814, and that of the Greater Linz conurbation is about 271,000. Steel and industrial chemistry have made Linz one of Austria’s most important economic centres. But today, Linz also offers a broad spectrum of cultural events and a great number of cultural institutions. In 2009, together with Vilnius (Lithuania) Linz was European Capital of Culture (ECOC). More than 2.5 million people visited the city that year. Several newly constructed cultural venues reinforced Linz’s image as a dynamic city of culture and industry. To ensure that Linz maintains its success after the ECOC year (“Linz 2009”), the city decided to evaluate and to redesign the Cultural Development Plan elaborated in 2000. The new Culture Development Plan underpins the necessity of a continuous cultural development after Linz 2009. In addition to setting up new cultural infrastructures, the city decided to expand subsidy programmes in the spirit of a very inclusive concept of culture, and developing formats that offer the general public low-threshold access to art and culture. Challenges In the 1970s, Linz was an industrial and provincial city whose economy was based on the industry. The decline of the industry and the poor image of the region, associated with a poor cultural offer, made Linz look for alternatives.
    [Show full text]
  • Disco, House and Techno: Rethinking the Local and the Global in Italian Electronic Music Paolo Magaudda
    IASPM05 - ROME Disco, House and Techno: rethinking the local and the global in Italian Electronic Music Paolo Magaudda The question at this point is how to conceive the 1. Introduction: electronic music, globalization, and the Italian periphery relationship between local and global in a musical field - electronic music – in which this relationship is much he relation between globalization and local music less clear than it is in original and locally-rooted music. Tis a spicy question in today’s popular music And, more specifically, how to rethink the local-global studies, as well as in wider contemporary cultural relationship in analyzing musical forms which do not theory. Arjun Appadurai, for example, discussing the present an explicit characterization of their locality “modernity at large”, brings to light the example of through direct aesthetic features, as happens with the ability of Filipinos to reproduce American melodic traditional or ethnic instrumentations or with the use of songs in a better way than Americans do (Appadurai, a specific language. More generally, it is necessary to 1996, p. 48). From a more musical point of view, the examine the global-local dialectic of these musical forms, ethnomusicologist Steven Feld pointed out how the probably the first product of the accelerated processes effects of globalization on world music have been in transnational flows of technology, media and popular viewed by scholars with a contradictory opposition culture - as far as musical instruments, musical styles, between anxiety about the commodification of original and ways of listening are concerned – and particularly cultures and celebration of the positive hybridization of of what is happening in popular electronic music.
    [Show full text]