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ACM MM 96 Text ACM MULTIMEDIA 96
ACM MM 96 Text ACM MULTIMEDIA 96 General Information Technical Program Demonstrations Art Program Workshops Tutorials Stephan Fischer Last modified: Fri Nov 29 09:28:01 MET 1996 file:///C|/Documents%20and%20Settings/hsu.cheng-hsin/Desktop/acmmm96/index.htm[1/28/2010 9:42:17 AM] ACM MM 96 ACM MULTIMEDIA 96 The Fourth ACM International Multimedia Conference and Exhibition ADVANCE PROGRAM 18-22 November 1996 Hynes Convention Center Boston, Massachusetts, USA Co-located with SPIE's Symposium on Voice, Video and Data Communication, and Broadband Network Engineering program and overlapping with CSCW, to be held in nearby Cambridge. Welcome to ACM Multimedia '96 Special Events Conference-at-a-Glance Ongoing Events Courses Technical Papers Panels Registration Course Selections Hotels Conference Organization Welcome to ACM Multimedia '96 In what seems in retrospect to have been an astonishingly short time, multimedia has progressed from a technically- challenging curiosity to an essential feature of most computer systems -- both professional and consumer. Accordingly, leading-edge research in multimedia no longer is confined to dealing with processing or information- access bottlenecks, but addresses the ever-broadening ways in which the technology is changing and improving interpersonal communication, professional practice, entertainment, the arts, education, and community life. This year's program emphasizes this trend: off-the-shelf building blocks are now available to construct useful and appealing applications which are highlighted in the Demonstration and Art venues. In addition to the full complement of panels, courses, and workshops, the conference program features a distinguished set of technical papers. Keynotes will be provided by Glenn Hall, the Technical Director of Aardman Animations whose work includes Wallace and Gromit; and Professor Bill Buxton of the University of Toronto and Alias | Wavefront Inc. -
The Broad Launches Unprecedented Survey of Groundbreaking Artist Shirin Neshat
Media Contacts Tyler Mahowald | [email protected] Justin Conner | [email protected] Alice Chung | [email protected] THE BROAD LAUNCHES UNPRECEDENTED SURVEY OF GROUNDBREAKING ARTIST SHIRIN NESHAT The Artist’s Largest Survey to Date and First Major Exhibition of Her Work in the Western U.S. Will Be on View October 19, 2019–February 16, 2020 in Los Angeles LOS ANGELES—This fall, The Broad will launch a new survey—the largest held to date—of internationally acclaimed artist Shirin Neshat’s work. The exhibition, Shirin Neshat: I Will Greet the Sun Again, will be on view from October 19, 2019, through February 16, 2020, and is the renowned multidisciplinary artist’s first major exhibition to take place in the western United States. The artist has been in the Broad collection for 20 years, beginning with the 1999 acquisition of Rapture (1999)—the first multiscreen video installation to enter the collection. Originated by The Broad, this exhibition surveys approximately 30 years of Neshat’s dynamic video works and photography, investigating the artist’s passionate engagement with ancient and recent Iranian history, the experience of living in exile and the human impact of political revolution. Taking its title from a poem by Iranian poet Forugh Farrokhzad (1934–67), the exhibition begins with her most famous body of work, Women of Allah (1993–97) and features the global debut of Land of Dreams, a new, multi-faceted project that was completed this past summer in New Mexico, and encompasses two videos and a body of photographs. Arranged chronologically, Shirin Neshat: I Will Greet the Sun Again presents over 230 photographs and eight video installations, including iconic video works such as Rapture, Turbulent (1998) and Passage (2001), journeying from works that address specific events in contemporary Iran, both before and after the Islamic Revolution, to work that increasingly uses metaphor and ancient Persian history and literature to reflect on universal concerns of gender, political borders and rootedness. -
Conceptual and Material Aspects of Media Art
UvA-DARE (Digital Academic Repository) Re: Paik. On time, changeability and identity in the conservation of Nam June Paik’s multimedia installations Hölling, H.B. Publication date 2013 Link to publication Citation for published version (APA): Hölling, H. B. (2013). Re: Paik. On time, changeability and identity in the conservation of Nam June Paik’s multimedia installations. Boxpress. General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by the library of the University of Amsterdam (https://dare.uva.nl) Download date:28 Sep 2021 Chapter 2 . ON THE THRESHOLD OF MATERIALITIES . CONCEPTUAL AND MATERIAL ASPECTS OF MEDIA ART 1 .1 How Conceptual is Paik’s Media Art? The moment Paik declares that TV Garden – just as Video Fish and Buddha TV – can be loaned to a Brazilian exhibition (1996) and arranged following Paik’s remote instruction marks the time when, in retrospect, the artwork acquires its quasi conceptual character. -
All These Post-1965 Movements Under the “Conceptual Art” Umbrella
All these post-1965 movements under the “conceptual art” umbrella- Postminimalism or process art, Site Specific works, Conceptual art movement proper, Performance art, Body Art and all combinations thereof- move the practice of art away from art-as-autonomous object, and art-as-commodification, and towards art-as-experience, where subject becomes object, hierarchy between subject and object is critiqued and intersubjectivity of artist, viewer and artwork abounds! Bruce Nauman, Live-Taped Video Corridor, 1970, Conceptual Body art, Postmodern beginning “As opposed to being viewers of the work, once again they are viewers in it.” (“Subject as Object,” p. 199) http://www.youtube.com/watch?v=9IrqXiqgQBo A Postmodern beginning: Body art and Performance art as critique of art-as-object recap: -Bruce Nauman -Vito Acconci focus on: -Chris Burden -Richard Serra -Carolee Schneemann - Hannah Wilke Chapter 3, pp. 114-132 (Carolee Schneemann and Hannah Wilke, First Generation Feminism) Bruce Nauman, Bouncing Two Balls Between the Floor and Ceiling with Changing Rhythms, 1967-1968. 16mm film transferred to video (black and white, sound), 10 min. Body art/Performance art, Postmodern beginning- performed elementary gestures in the privacy of his studio and documented them in a variety of media Vito Acconci, Following Piece, 1969, Body art, Performance art- outside the studio, Postmodern beginning Video documentation of the event Print made from bite mark Vito Acconci, Trademarks, 1970, Body art, Performance art, Postmodern beginning Video and Print documentation -
Two Bridges (Manhattan)
20 - Two Bridges (Manhattan) December 2016 Notice The opinions expressed in this report do not necessarily reflect those of the New York State Energy Research and Development Authority (hereafter “NYSERDA”) or the State of New York, and reference to any specific product, service, process, or method does not constitute an implied or expressed recommendation or endorsement of it. Further, NYSERDA, the State of New York, and the contractor make no warranties or representations, expressed or implied, as to the fitness for particular purpose or merchantability of any product, apparatus, or service, or the usefulness, completeness, or accuracy of any processes, methods, or other information contained, described, disclosed, or referred to in this report. NYSERDA, the State of New York, and the contractor make no representation that the use of any product, apparatus, process, method, or other information will not infringe privately owned rights and will assume no liability for any loss, injury, or damage resulting from, or occurring in connection with, the use of information contained, described, disclosed, or referred to in this report. NYSERDA makes every effort to provide accurate information about copyright owners and related matters in the reports we publish. Contractors are responsible for determining and satisfying copyright or other use restrictions regarding the content of reports that they write, in compliance with NYSERDA’s policies and federal law. If you are the copyright owner and believe a NYSERDA report has not properly attributed your work to you or has used it without permission, please email [email protected] ii Two Bridges/Beyond the Grid NY Prize Stage 1 Community Microgrid Feasibility Study Final Report Prepared for NYSERDA by: Two Bridges Neighborhood Council The Louis Berger Group Morrison & Foerster LLP Milestone Architecture WiFi-NY Lockheed Martin Stout Risius Ross Beyond the Grid Community Microgrid NY Prize Stage 1 – Task 1 1.0 INTRODUCTION TO SITE 20 The urban area being served is highly dense and vertical as shown in the photo below. -
VITO ACCONCI Born 1940 Bronx, New York
GRIEDER CONTEMPORARY VITO ACCONCI born 1940 Bronx, New York. Lives and works in Brooklyn, NY. 1962 Bachelor of Arts, Holy Cross College, Worcester, Massachusetts, US 1964 Master of Fine Arts, University of Iowa, Iowa City, Iowa, US Solo Exhibitions (selected) 2014 Vito Acconci: Now and Then, Grieder Contemporary, Zurich, CH 2012 Vito Acconci: Vito Acconci, Rhona Hoffman Gallery, Chicago, US 2011 Vito Acconi, Galleria Fumagalli, Bergamo, IT 2010 AAA Talk Vito Acconci + Ai Weiwei: Artist in Conversation, Agnès b. Cinema, Wanchai, HK Early Works – Vito Acconci, Basis Frankfurt, Frankfurt/Main, DE Coinvolgimenti – Castello di Rivoli Museo d'Arte Contemporanea, Turin, IT Lobby-For-The-Time-Being, Bronx Museum of the Arts (BxMA), New York City, NY Le Corps Comme Sculpture – Vito Acconci, Musée Auguste Rodin, Paris, FR 2009 Vito Acconci: Language Works – Video, audio and poetry, Argos, Brussels, BE 2008 Vigilancia y control, Centro de Arte La regenta, las Palmas de Gran Canaria, ES Power Fields: Explorations in the Work of Vito Acconci, Slought Foundation, Philadelphia, PA, US 2005 Self/Sound/City, Foundation for Art and Creative Technology (FACT), Liverpool, UK Vito Hannibal Acconci Studio, Museu d’Art Contemporani de Barcelona, ES; Centro Atlantico de Arte Moderno, Las Palmas, Gran Canaria, ES; Stedelijk, Amsterdam, NL 2004 Diary of a Body, Gladstone Gallery, New York, NY Vito Hannibal Acconci Studio, Musee des Beaux Artes, Nantes, FR; MACBA, Barcelona, ES 2003 Rehearsals for Architecture, Kenny Schachter Rove, Perry St., New York, NY, US Acconci Studio – Slipping into the 21st Century, Pratt–Manhattan Gallery, New York, NY, US 2002 Vito Acconci/Acconci Studio: Acts Of Architecture, Milwaukee Museum of Art (Traveled to Aspen Art Museum, Miami Museum of Art 2001,Contemporary Art Museum Houston 2001) 2001 Vito Acconci, 11 Duke Street, London, UK Vito Acconci / Acconci Studio, Architectural Models, The Institute for the Cooperatic Research, New York, US, and Paris, FR Built, Unbuilt, Unbuildable. -
I – Introduction
QUEERING PERFORMATIVITY: THROUGH THE WORKS OF ANDY WARHOL AND PERFORMANCE ART by Claudia Martins Submitted to Central European University Department of Gender Studies In partial fulfillment for the degree of Master of Arts in Gender Studies CEU eTD Collection Budapest, Hungary 2008 I never fall apart, because I never fall together. Andy Warhol The Philosophy of Andy Warhol: From A to B and Back again CEU eTD Collection CONTENTS ILLUSTRATIONS..........................................................................................................iv ACKNOWLEDGMENTS.................................................................................................v ABSTRACT...................................................................................................................vi CHAPTER 1 - Introduction .............................................................................................7 CHAPTER 2 - Bringing the body into focus...................................................................13 CHAPTER 3 - XXI century: Era of (dis)embodiment......................................................17 Disembodiment in Virtual Spaces ..........................................................18 Embodiment Through Body Modification................................................19 CHAPTER 4 - Subculture: Resisting Ajustment ............................................................22 CHAPTER 5 - Sexually Deviant Bodies........................................................................24 CHAPTER 6 - Performing gender.................................................................................29 -
Uva-DARE (Digital Academic Repository)
UvA-DARE (Digital Academic Repository) Re: Paik. On time, changeability and identity in the conservation of Nam June Paik’s multimedia installations Hölling, H.B. Publication date 2013 Link to publication Citation for published version (APA): Hölling, H. B. (2013). Re: Paik. On time, changeability and identity in the conservation of Nam June Paik’s multimedia installations. Boxpress. General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by the library of the University of Amsterdam (https://dare.uva.nl) Download date:26 Sep 2021 Appendix Nam June Paik’s Collaborators, Fabricators and Assistants1 Shuya Abe (born 1932) Japanese electrical engineer and co-inventor of the video-synthesiser. In 1963, he became Paik’s seminal collaborator. The Paik–Abe synthesiser used video feedback, magnetic scan modulation, non-linear mixing, and colourised images from an array of cameras in a TV studio. -
0V12-8676 16 NAME.SPACE, INC., Case [F1h 17 Plaintiff
Flit-ED 1 MICHAEL B. MILLER mmiI1er(mofo .com 2 CRAIG II WHITNEY (CA SBN 217673) [email protected] 2012 OCT10 PM I: 13 3 ADAM J. HUNT adamhunt(i)mofo . corn CLERK U.S DISTRICT COURT CENTRAL DIST. OF CALIF. 4 MORRISON & FOERSTER LLP LOS ANGELES 1290 Avenue of the Americas 5 New York, New York 10104 BY _- Telephone: 212.468.8000 DR 6 Facsimile: 212.468.7900 7 MARK R. MCDONALD (CA SBN 13 700 1) 19A, mmcdonald(2lmofo . corn C 8 MORRJSON& FOERSTER LLP 555 West Fifth Street, Suite 3500 9 Los Angeles, California 90013 Telephone: (213) 892-5200 10 Facsimile: (213).892-5454 11 Attorneys for Plaintiff NAME.SPACE, INC. 12 UNITED STATES DISTRICT COURT 13 CENTRAL DISTRICT OF CALIFORNIA 14.1 WESTERN DIVISION 15 W 0V12-8676 16 NAME.SPACE, INC., Case [f1h 17 Plaintiff, 18 V. COMPLAINT 19 INTERNET CORPORATION FOR DEMAND FOR JURY TRIAL 20 ASSIGNED NAMES AND NUMBERS, 21 Defendant. 22 23 Plaintiff narne.space, Inc. ("name. space"), by and through its undersigned 24 counsel, brings this Complaint against Defendant Internet Corporation for Assigned 25 Names and Numbers ("ICANN"), and alleges as follows: 26 27 28 1 ny-1023 809 1 INTRODUCTION 2 1. name.space is the originator, operator and promoter of 482 Top Level 3 Domains ("TLDs"), which is the highest level identifier in an Internet "domain 4 name"such as .com or .gov. 5 2. ICANN controls and purports to be responsible for the entire worldwide 6 Internet Domain Name System ("DNS"). The DNS is an essential part of the 7 logical infrastructure that makes the Internet work by assigning unique domain 8 names to computers running web sites and other services including e-mail and 9 voice-over-IP, and by coordinating master computer servers which ensure that all 10 Internet users typing a domain name into their browsers reach the same "host" 11 computer and service. -
Labyrinthine Variations 12.09.11 → 05.03.12
WANDER LABYRINTHINE VARIATIONS PRESS PACK 12.09.11 > 05.03.12 centrepompidou-metz.fr PRESS PACK - WANDER, LABYRINTHINE VARIATIONS TABLE OF CONTENTS 1. INTRODUCTION TO THE EXHIBITION .................................................... 02 2. THE EXHIBITION E I TH LAByRINTH AS ARCHITECTURE ....................................................................... 03 II SpACE / TImE .......................................................................................................... 03 III THE mENTAL LAByRINTH ........................................................................................ 04 IV mETROpOLIS .......................................................................................................... 05 V KINETIC DISLOCATION ............................................................................................ 06 VI CApTIVE .................................................................................................................. 07 VII INITIATION / ENLIgHTENmENT ................................................................................ 08 VIII ART AS LAByRINTH ................................................................................................ 09 3. LIST OF EXHIBITED ARTISTS ..................................................................... 10 4. LINEAgES, LAByRINTHINE DETOURS - WORKS, HISTORICAL AND ARCHAEOLOgICAL ARTEFACTS .................... 12 5.Om C m ISSIONED WORKS ............................................................................. 13 6. EXHIBITION DESIgN ....................................................................................... -
Being There Art Assignment 9
ART ASSIGNMENT SHIRIN NESHAT I WILL GREET THE SUN AGAIN In conjunction with Shirin Neshat: I Will Greet the Sun Again, the Modern’s education department and Akin White are pleased to present this Art Assignment packet for high school students and educators. This packet is a supplement to the gallery experience and offers background information on the artist and work, as well as ideas to consider while engaging in the art project. Shirin Neshat was born in Qazvin, Iran, a small city two hours from Tehran, in 1957. Shirin Neshat: I Will Greet the Sun Again surveys approximately 30 years of the artist’s video works and photography, investigating her passionate engagement with ancient and recent Iranian history. The experience of living in exile and the human impact of political revolution are also explored by Neshat. The exhibition takes its title from a poem by the Iranian poet Forugh Farrokhzad (1934–1967). I Will Greet the Sun Again begins with Neshat’s most famous body of work, Women of Allah, 1993–97, and also features her early iconic video works such as Rapture, 1999, Turbulent, 1998, and Passage, 2001. Monumental photography installations include The Book of Kings, 2012, The Home of My Eyes, 2015, and Land of Dreams, 2019, a new, ambitious work encompassing a photographic series and video. The exhibition journeys from works that address specific events in contemporary Iran, both before and after the Islamic Revolution, to works that increasingly use metaphor and ancient Persian history and literature to reflect on universal concerns of gender, political borders, and rootedness. -
Shirin Neshat March 20 - June 1, 2003 BORN in QAZVIN, IRAN, in 1957, Shirin Neshat Came to the United States at Age 17 to Study Art
Shirin Neshat March 20 - June 1, 2003 BORN IN QAZVIN, IRAN, IN 1957, Shirin Neshat came to the United States at age 17 to study art. In 1983 she received a master of fine arts degree from the University of California at Berkeley, where she majored in painting. After graduating she decided not to pursue a career as an artist instead devoting most of her time to co-directing The Storefront for Art and Architecture, an alternative space in New York. It was not until Neshat was in her 30s — after the first of several visits she made in 1990 to her native Iran — that she began making photographs and subsequently videos. She found the country transformed by the dramatic cultural, Made in collaboration with teams of cinematographers, crew, social and political changes of the Islamic Revolution. The sense and casts of hundreds, Neshat’s installations combine powerful of displacement and exile she felt inspired her to devote her cinematic images with mesmerizing soundtracks by such work to an exploration of the profound differences between contemporary composers as Sussan Deyhim and Philip Glass. the Western culture to which she had become assimilated and Her videos do not rely on plots, characters, or dialogue to tell the Eastern culture in which she was raised. In explaining why a story. Instead, the artist’s mysterious narratives unfold she felt compelled to begin making art again she states, “I had through a combination of richly imaginative and carefully reached a sort of intellectual maturity that I didn’t have before. choreographed scenes, dramatic settings, emotive music, and I also finally reached a subject that I felt really connected to.