DOCSLIB.ORG

Third Edition of the Dark Ecology Journey Takes Place in Norway And

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Third Edition of the Dark Ecology Journey Takes Place in Norway And Press release | 28-04-2016, Amsterdam Third edition of the Dark Ecology Journey takes place in Norway and Russia from 8 till 12 June 2016 Presentation of new commissioned works by Justin Bennett, Nickel van Duijvenboden, Espen Sommer Eide, HC Gilje and Cecilia Jonsson, Signe Lidén and Dmitry Morozov The third edition of the art, research and commissioning project Dark Ecology will take place between 8 and 12 June 2016 in the border zone between Norway and Russia. Over the course of five days, a group of more than 50 artists, researchers, curators, writers and organisers, will travel from Northern Norway (Kirkenes) to Zapolyarny and Nikel in Russia. While the previous Journey took place in the dark winter season, the third one will take place during the Arctic summer, with sunlight for most of the day and night. The programme includes the presentation of new commissioned works by Justin Bennett, Nickel van Duijvenboden, Espen Sommer Eide, HC Gilje and Cecilia Jonsson, Signe Lidén, Dmitry Morozov, as well as lectures by Heather Davis, Timothy Morton and other speakers, and discussions, walks, and performances. Dark Ecology is a three-year art, research and commissioning project initiated by the Dutch organisation Sonic Acts and Kirkenes-based curator Hilde Methi, and in collaboration with Norwegian and Russian partners. Dark Ecology unfolds through research, the creation of new artworks, and a public programme that is presented in the zone on both sides of the border in 2014, 2015 and 2016. The 2016 Journey includes lectures, presentations of newly commissioned artworks, curated walks, a discursive programme, concert evenings and the launch of the Dark Ecology publication. Dark Ecology is informed by the idea that ecology is ‘dark’ (as the American theorist Timothy Morton has argued), because it invites – or demands – that we think about our intimate interconnections with, for instance, iron ore, snowflakes, plankton, or radiation… Ecology does not privilege the human, it is not something beautiful, and it has no real use for the old concept of Nature. What we now know about the impact of human beings on the planet has led to the need to rethink the concepts of nature and ecology, and exactly how humans are connected to the world. This rethinking occurs in philosophy as well as in the arts. Though these issues are relevant anywhere in the world, they are especially pertinent in the Barents Region with its pristine nature, industrial pollution and open-pit mining. Speculation on global warming fuels local economic growth as the prospects for both the exploitation of the oil and gas reserves below the Barents Sea and the trade through the Northern Sea route are rising. Disparate interests and ‘approaches’ from both sides of the border have to negotiate. This interaction informs the Dark Ecology project, and is a starting point to invite artists and theorists to develop new approaches and new works. Preliminary Journey Programme Researcher, writer, and editor Heather Davis starts this Journey with a keynote presentation. For Vilgiskoddeoayvinyarvi: Wolf Lake on the Mountains, Justin Bennett will take participants on a soundwalk exploring the area around the Kola Superdeep Borehole. Espen Sommer Eide and Signe Lidén will take participants on Altitude and History, a 3-hour evening trek in the mountains above Nikel, where they will investigate the acoustic phenomena in relation to the topography of the area while relating them to the local history. Dmitry Morozov will be undertaking a residency in April in the Pasvik Valley to create a new audiovisual installation, and Dutch artist Nickel van Duijvenboden will conduct a performative reading. Cecilia Jonsson has been doing intensive research in the Kirkenes area to explore suitable drilling sites and is preparing an installation created by drilling deep into the Earth’s crust. Prospecting: A Geological Survey of Greys is an interdisciplinary, site-specific art project that appropriates the scientific geological methods of extracting, analysing and categorising mineral specimens. Mikro is a series of improvised collaborative performances between HC Gilje (video) and Justin Bennett (sound) that draws its raw material from the immediate surroundings. On the last day of the Dark Ecology Journey, Bennett and Gilje will perform the latest version of Mikro using material gathered over the course of the Journey. Dark Ecology Online Platform The results of the Dark Ecology explorations are distributed in the Barents Region and internationally. The online platform offers documentation and reflection through interviews, travel reports, videos, photos and audio recordings. Further information on the project: www.darkecology.net www.sonicacts.com Facebook / Twitter / Vimeo / Flickr / Soundcloud ------- NOT FOR PUBLICATION ------- For further information please contact: Netherlands: Bas van den Broeke: [email protected] / +31 6 54907788 Norway: [email protected] / +47 41649181 Download press releases and hi-res images here Partners Arctic Encounters (University of Leeds, Leeds Beckett University, the University of Iceland, Roskilde University, and The Arctic University of Norway), Fridaymilk, PNEK, Roman Khoroshilov, Visitor Centre of Øvre Pasvik National Park, Childrens’ Art School Nikel, School No 20 Nikel, Barents Travel (Nikel), Full of Nothing, the municipalities of Nikel and Sør-Varanger, Sør-Varanger Filmklubb, Landmark/Kunsthall Bergen and Borealis Festival. Dark Ecology is part of Changing Weathers - networked responses to geophysical, geopolitical and technological culture-shifts across Europe. It is initiated by the Arctic Perspective Initiative (API) and coordinated by Zavod Projekt Atol (SI) in partnership with Sonic Acts (NL), RIXC (LV), Finnish Society of Bioart (FI), Hilde Methi (NO), Time’s Up (AT) and Ljudmila (SI). Changing Weathers is co-funded by the Creative Europe Programme of the European Union. Funders Dark Ecology is generously funded by BarentsKult, Public Art Norway (KORO/URO), Arts Council Norway, Creative Industries Fund NL, Creative Europe Programme of the European Union, PNEK (Production Network for Electronic Art, Norway), Mondriaan Fund, Paradiso, Finnmark County Municipality, Bergen Municipality, Norwegian Visual Artists Association (NBK), Nordland County Council and Troms County Council. .
Load more

Recommended publications
  • Sonicacts Poetics of Space.Pdf
    Sonic Acts XIII The Poetics of Space Edited by Arie Altena & Sonic Acts Sonic Acts Press, Amsterdam 2010 The Poetics of Space Contents 7 22 33 149 161 169 Approaches to Right Here, Right Space and Sound The Hybrid Architectures Now, HC Gilje’s Space is Body Centred Voice Over Interview with Raviv of Iannis Xenakis Networks of Specificity Interview with Sonia Introduction Brandon LaBelle Ganchrow by Arie Altena Elizabeth Sikiaridi Mitchell Whitelaw Cillari by Annet Dekker 51 61 75 179 189 199 Soundscape Composition Techno-poetry of Extremities as Global Music: Augmented Reality and Maryanne Amacher Electroacoustic Mental and Existential Interactive Architecture Long Sounds in Conversation with Music as Soundscape Ecology Diller + Scofidio Interview with Daan Douglas Kahn Frank J. Oteri Barry Truax Juhani Pallasmaa Blur Building Roosegaarde by Arie Altena 93 99 105 207 229 237 The Poetics of Hybrid Space Changing Space is Something that Jordan Belson and Pixel Architecture is Spatial Sensibilities Arrives with the Sound the Vortex Concerts: Media Architecture and Ubiquitous Interview with Takuro Mizuta Cosmic Illusions E.A.T The Diorama Revisited Interview with Marc Maurer by Mediatization Lippit by Arie Altena Cindy Keefer Pepsi Pavilion Erkki Huhtamo Arie Altena Eric Kluitenberg 111 125 137 249 253 255 Immersive Works for Cyborg Ritual and A Spatial Language Complete Experiences Sentic Technology in of Light and Sound Interview with TeZ the Vortex Concerts Interview with Edwin van by Arie Altena Trace Reddell der Heide by Arie Altena Biographies Image Credits Colophon Introduction 6 7 Introduction Introduction This book was compiled and edited in 2009 during the development who have delved deep into our understanding of space through of the thirteenth Sonic Acts Festival.
    [Show full text]
  • Download Programme
    SONIC ACTS Academy 2018 Unpacking the Processes of Artistic Knowledge Sonic Acts Academy is a new plat- form for investigation, speculation, and reflection, focusing on educational practices and the critical examination of knowledge production in the field of art. By expanding artistic experience into an academy of engagement and exchange, we wish to offer both a play- ground and a radical syllabus at odds with institutionalised learning. The temporary and unstable configu- rations that make up our world today ask for new and flexible approaches to making, learning, and thinking. While education is a breeding ground for an economy of knowledge-as-com- modity, it is essential to re-examine how forms of learning can take place when unrestricted by measurable outcomes or predetermined expec- tations. Nora Sternfeld, agreeing with Irit Rogoff’s text 'Turning', addresses the role of education today: ‘education SONIC ACTS Academy 1 is not about handing down existing national and bourgeois values, as Tony Bennett would have it, nor about the mere reproduction of knowledge, but about exploring the possibilities of an alternative production of knowledge that resists, supplements, thwarts, undercuts, or challenges traditional forms of knowledge.’ 1 As the world becomes more radical and unequal, the need for change in the field of education takes on increas- ing urgency. For new models and ideas, we are turning to a community of art- ists, teachers, mentors, thinkers, and tinkerers. By inviting artistic investiga- Bouffant. Blackie by Photo Walshe. Jennifer tions and research – the processes that challenge the notions of the petrified world – Sonic Acts Academy aims to advance experimentation by including various dynamic perspectives at the podium.
    [Show full text]
  • Artist-Programmers and Programming Languages for the Arts
    Artist-Programmers and Programming Languages for the Arts Christopher Alex McLean esis submied to Goldsmiths, University of London, for the degree of Doctor of Philosophy. October 2011 Dedicated to Jess, Harvey, Mum, Dad, Andrea and Stuart and the rest of my family, to whom I owe everything, and with the memory of those who supported this work but passed away before seeing its end, namely my Father-in-Law Dr. David Elmore, and my cat Olga. 2 Abstract We consider the artist-programmer, who creates work through its description as source code. e artist-programmer grandstands computer language, giving unique vantage over human- computer interaction in a creative context. We focus on the human in this relationship, noting that humans use an amalgam of language and gesture to express themselves. Accordingly we expose the deep relationship between computer languages and continuous expression, exam- ining how these realms may support one another, and how the artist-programmer may fully engage with both. Our argument takes us up through layers of representation, starting with symbols, then words, language and notation, to consider the role that these representations may play in hu- man creativity. We form a cross-disciplinary perspective from psychology, computer science, linguistics, human-computer interaction, computational creativity, music technology and the arts. We develop and demonstrate the potential of this view to inform arts practice, through the practical introduction of soware prototypes, artworks, programming languages and im- provised performances. In particular, we introduce works which demonstrate the role of per- ception in symbolic semantics, embed the representation of time in programming language, include visuospatial arrangement in syntax, and embed the activity of programming in the improvisation and experience of art.
    [Show full text]
  • 23–26 February 2012 Amsterdam
    Travelling 1 Time 2012 23–26 February Travelling Amsterdam V I X Time S SONIC ACT Explorations in art,Explorations music science, and technology Travelling 3 Time machine time time machine ruin alternate history neutrinos human time media archeology immune to time deep history mach 9 need for speed water clock sound of time time capsule chronocracy non-linear time shock waves historiography echo fossil fuels stealth time restoration pompeii time dilation image as time shock waves colonising time erosion sound of time timeless region what is Art else remains after everything destroyed is forgotten or – Jack Burnham (1974) Introduction 4 Travelling 5 Time Travelling Travelling , this year’s festival offers an an offers festival year’s this , Art is a time machine. Sonic Sonic machine. time a is Art Sonic Acts is a four-day festival festival four-day a is Acts Sonic performances, concerts, of and presentations lectures, exhibitions. Titled and Time time of experience intense relating ideas radical explores and complex a is Time it. to Ongoing concept. ambiguous developments technological notions our change continually Communication time. speed of light at operate networks data process computers and human without time real gap in a in resulting mediation, the and time machine between Music it. of experience to us human enable arts other the time and of nature the investigate tangible, concept the making by intensifying or changing by and our experience of time. Acts is a journey through time. to the the to of Time An Ode Ode An Experience
    [Show full text]
  • Annual Report 2016
    ANNUAL REPORT 2016 1 / SONIC ACTS ANNUAL REPORT 2016 CONTENTS INTRODUCTION 3 1. SONIC ACTS ACTIVITIES IN 2016 6 1.1 SONIC ACTS ACADEMY 6 1.2 DARK ECOLOGY 8 1.3 PROGRESS BAR 11 1.4 COMMISSIONS & CO-PRODUCTIONS 13 HOMAGE TO DICK RAAIJMAKERS 14 VILGISKODDEOAYVINYARVI: WOLF LAKE ON THE MOUNTAINS 14 PROGRESS BAR SPATIAL TRANSFORMATIONS 14 ECHOLOCATION (SESSION) 14 ALTITUDE AND HISTORY 15 MIKRO 15 PROSPECTING: A GEOLOGICAL SURVEY OF GREYS 15 SOUND WORK FOR PROSPECTING: A GEOLOGICAL SURVEY OF GREYS 16 LESOPHON 16 1.5 WORKSHOPS & SEMINARS 16 1.6 OTHER ACTIVITIES 18 1.7 DISTRIBUTION 19 1.8 PUBLISHING 20 SONIC ACTS ACADEMY VOLUME 1 20 LIVING EARTH 20 RESEARCH SERIES 20 DARK ECOLOGY FIELD NOTES 21 LIVESTREAM & VIMEO CHANNEL 21 2. PR, COMMUNICATION & MARKETING 23 Workshop by Susan Schuppli at Schuppli Susan by Workshop 3. SONIC ACTS 2016 IN NUMBERS 26 4. SONIC ACTS TEAM, PARTNERS & FUNDERS IN 2016 27 4.1 SONIC ACTS 27 4.2 DARK ECOLOGY 27 Atmospheric Feedback Loops Feedback Atmospheric Cover: der Velden. van Lucas Photo by Observatory. CESAR 2 / SONIC ACTS ANNUAL REPORT 2016 INTRODUCTION With this annual report Sonic Acts presents the results of its activities in 2016. The first edition of the Academy was held in February; this 3-day event focused on the 'Sonic Acts is unstoppable!' current practice and research methodologies of artists and the connections to theory and science. It comprised a well-attended and packed programme with workshops, lectures, - Hilary Jeffery presentations, performances and screenings. With the Academy, Sonic Acts strengthens its role as a platform for research, talent development, commissioning, presentation and critical reflection.
    [Show full text]
  • 12Abc3d Ef4ghi5j Kl6mno7 Pqrs8tu V9wxyz
    PROGRAMME 12ABC3D EF4GHI5J KL6MNO7 PQRS8TU V9WXYZ unsorted, SonicActsX Many new art forms have emerged The information arts are the theme in recent years (from business art to of unsorted, SonicActsX. The festi- genomic art and from computer art val takes place from Thursday 23rd to neo-conceptualism) which in form until Saturday September 25th and content are rooted in the infor- at Paradiso, Amsterdam. It consists mation society: the information arts. of three consecutive afternoons and These information arts defy several nights of live performances, a film paradigms on which traditional art programme, a two-day conference, forms are based. and an exhibition. PROGRAMME, 23rd September PROGRAMME, 24th September unsorted am/pm am/pm doors open . from 20:00–04:00 tobias c. van Veen . .CONFERENCE . .S . .16:00–16:45 MIMEO . .SPECIALS . .M . .20:30–00:15 CM von Hausswolff . .CONFERENCE . .S . .16:45–17:30 The Story of Computer Graphics . .FILM . .S . .20.30–22:00 Jon Wozencroft . .CONFERENCE . .S . .17:30–18:15 Meta . .LIVE CINEMA . .S . .22.45–23.30 Tom Betts & Joe Gilmore . .CONFERENCE . .S . .18:15–19:00 GAS DVD Night part 1 . .FILM . .S . .23.30–00:00 Abstract Cinema . .FILM . .S . .20:30–21:30 mise-en-trôpes . .LIVE CINEMA . .S . .00:00–00:45 CM von Hausswolff . .RASTER-NOTON . .M . .21:00–21:45 Radian & Jade . .LIVE CINEMA . .M . .00:15–01:00 Pixel . .RASTER-NOTON . .M . .21:45–22:30 GAS DVD Night part 2 . .FILM . .S . .00:45–01:15 Codespace . .LIVE CINEMA . .S . .22:15–23:00 Battery Operated .
    [Show full text]
  • “A Playground for the Ears.” —Stephan Moore, Curator and Artistic Director
    “A playground for the ears.” —Stephan Moore, Curator and Artistic Director EXHIBITION CATALOGUE Y22443CGS_caramoor_v1_Layout 1 4/16/14 2:56 PM Page 1 1 LIFE HAPPENS AROUND FOOD.® the A-LINEADby SSAEL A GRUBER ERRY T PHOTO: PHOTO: assael.com 212 819 0060 @GPfood CATERING | EVENTS | VENUES | SERVICE | DESIGN 212.727.2424 B:8.375 in T:7.25 in S:6.75 in 3 CONTENTS 7 Letter from Jeffrey P. Haydon,Chief Executive Officer, Caramoor 7 Letter from Stephan Moore, Curator, In the Garden of Sonic Delights 8 Caramoor Events 2014 Summer–Fall 11 About the Presenter: Caramoor 29 About the Curator: Stephan Moore 34 Sponsor Information 35 Caramoor Trustees and Staff ARTISTS’ BIOGRAPHIES AND ARTWORKS 12 Laurie Anderson and Bob Bielecki: We Fall Like Light 13 Ranjit Bhatnagar: Stone Song 14 Bob Bielecki: Multiple works 15 Betsey Biggs: Sunken Gardens 16 Eli Keszler: Catenary 17 Aaron Taylor Kuffner:Gamelatron Sanctuary: Suara Sinar 18 Annea Lockwood and Bob Bielecki: Wild Energy 19 Francisco López: The [Music] Room 20 Stephan Moore: Diacousticon 21 John Morton: Usonia PRESENTS 22 Bruce Odland: Seven Bells for Stone Barns 23 Ed Osborn: Palm House Transect 24 Scott Smallwood: Coronium 3500 (Lucie’s Halo) 25 Suzanne Thorpe: Listening Is As Listening Does 15 commissioned, 26 Trimpin: The Pianohouse site-specific works 27 Stephen Vitiello and Bob Bielecki: You Are The Sweet Spot B:11.125 in PaRTNER ORGANIZATIONS S:9.5 in T:10 in T:10 by 16 sound artists in 30 Hudson Valley Center for Contemporary Art (HVCCA) 30 Jacob Burns Film Center six prestigious 31 Lyndhurst 31 Neuberger Museum of Art of Purchase College, SUNY locations across 31 Stone Barns Center for Food & Agriculture Westchester County, NY.
    [Show full text]
  • Algorave: Live Performance of Algorithmic Electronic Dance Music
    Proceedings of the International Conference on New Interfaces for Musical Expression Algorave: Live Performance of Algorithmic Electronic Dance Music Nick Collins Alex McLean Durham University University of Leeds [email protected] [email protected] ABSTRACT have a live performance component, or at least the potential The algorave movement has received international exposure for live rendering. Some of the sources here remain less well in the last two years, including a series of concerts in Eu- established in terms of the exact algorithm deployed, but rope and beyond, and press coverage in a number of me- most have some academic or commercial documentation. dia. This paper seeks to illuminate some of the historical There are many more interesting experiments and perfor- precedents to the scene, its primary aesthetic goals, and the mance projects of relevance beyond the scope of this review. divergent technological and musical approaches of represen- We could have made more of recent mobile app and web au- tative participants. We keep in mind the novel possibilities dio application experiments (whether flash or most recently in musical expression explored by algoravers. The scene is Web Audio API) as areas of mass endeavour where genera- by no means homogeneous, and the very lack of uniformity tive music software has had more popular impact. We might of technique, from new live coding languages through code point further to a general software backdrop, from Max to DJing to plug-in combination, with or without visual exten- SuperCollider to Ableton Live. Other early performer ex- sion, is indicative of the flexibility of computers themselves periments include work around 2001 such as Matt Olden's as general information processors.
    [Show full text]
  • The Anthology of Computer Art
    SonicActsXI THE ANTHOLOGY OF COMPUTER ART 23 - 26 February 2006 Paradiso & De Balie, Amsterdam Sonic Acts XI 2006 is curated, compiled and produced by Arie Altena, Martijn van Boven, Nathalie Bruys, Jan Hiddink, Gideon Kiers, and Lucas van der Velden, with additional support of Laura Blereau, Maarten Calle- bert, Jace Clayton, Andy Davies, Anja Hertenberger, Michiel Koelink and the Paradiso and Balie crew. Graphic design by Coup, Amsterdam Sonic Acts XI 2006 is produced in association with Paradiso, De Balie, and bitforms gallery, New York. Sonic Acts XI 2006 is supported by Paradiso, Mondriaanstichting, VSB fonds, Fonds voor Podiumprogrammering en Marketing, Fonds voor Amateurkunst en Podiumkunsten, Nederlands Fonds voor de Film, Thuiskopiefonds and Prins Bernhard Cultuurfonds. The eleventh edition of the Sonic Acts Festival is entitled Sonic Acts XI – The Anthology of Com- puter Art. The festival focusses on the history of computer art and is a tribute to the work of the early pioneers. It also showcases the work of con- temporary audiovisual artists and explores devel- opments in current electronic music. Autonomous computer art has seen a revival in recent years. Partly due to the rapid advances in hardware and software, applied and autonomous computer art has flourished in the visual arts and electronic music as well as in the worlds of film, video and games. As hardware and software have become more accessible and user-friendly a large group of artists has taken possession of this domain and developed a great deal of new work. In addition, ever more artists are develop- ing their own hardware and writing their own software.
    [Show full text]
  • 2018 Annual Report
    2018 ANNUAL REPORT SONIC ACTS 1017 SG Amsterdam The Netherlands www.sonicacts.com [email protected] Marija Bozinovska Jones, Fascia 171208180222, at Sonic Acts Academy 2018, Dansmakers. Photo by Pieter Kers. Cover: Catherine Christer Hennix, Blue(s) in Green to the 31 Limit, at Sonic Acts Academy 2018, Stedelijk Museum Amsterdam. Photo by Pieter Kers. ARTISTS Air Max ‘97 Devika Partiman Ivan Slipčević Linn da Quebrada Nicole Hewitt Signe Lidén Ane Hjort Guttu Dieter Kovačič J.G. Biberkopf Lorenzo Pezzani Nina Pixel Solveig Suess Anni Nöps Dinamarca James Massiah Lukas Marxt Nora Sternfeld Stanimir Panayotov Ase Manual Dis Fig Jana Winderen LYZZA NXS STILL Babi Audi DJ Haram Jelena Viskovic M.E.S.H. Oleg Khadartsev Susan Schuppli Benjamin Duboc DJ Lycox Jennifer Lucy Allan Makino Takashi PARADISE Swan Meat BJ Nilsen Dodomundo Jennifer Walshe Manara patten Tatjana Gorbachewsaja Billy Roisz Dreamcrusher Ji Youn Kang Manual Knapp Petit Singe Tatsuru Arai Birgit Bachler Drippin Johann Lurf Marcus Boon Petr Makarov Telcosystems Born in Flamez Elijah Joost Rekveld Marcus Pal Polina Medvedeva Tina Frank Catherine Christer Hennix Elysia Crampton Juha Maria Sarycheva Rabit Victor Mazón Gardoqui Cecilia Esther Urlus Justin Bennett Marija Bozinovska Jones Rana Hamadeh Vida Guzmić Cecilia Jonsson Filipa César Karl Klomp Mario de Vega Red Brut Violence Charmaine Chua Geng Karl Lemieux Martijn van Boven Renske M. van Dam Wartone Christina Kubisch HC Gilje Katya Larina Michele van Ool Rick Dolphijn Why Be clubcouture Hilary Jeffery Kei Kreutler Mijke
    [Show full text]
  • Sonic Acts' Publication Living Earth – Field Notes from the Dark Ecology Project 2014–2016 Is Out
    PRESS RELEASE | MAY 26, AMSTERDAM Sonic Acts’ publication Living Earth – Field Notes from the Dark Ecology Project 2014 – 2016 is out now Dark Ecology is an international art project exploring the relationship between humans, things and nature, as well as current ideas on ecology. Living Earth is a new book filled with ideas, conversations, lectures, and documentation relating to commissioned installations, soundwalks, concerts and performances made for and during the Dark Ecology project. This three-year project, a collaboration between Sonic Acts and the Norwegian curator Hilde Methi, was held from 2014 to 2016 in different places in Norway and Russia and included three curated ‘Journeys’. Living Earth is a recreation of these research trips to the Barents Region, from Kirkenes and Svanvik in Norway to Nikel, Zapolyarny and Murmansk in Russia. The publication Living Earth is available now at www.sonicacts.com. The project was inspired by Timothy Morton’s concept of ‘dark ecology’ and his philosophy of ‘ecology without Nature’. Morton offers a radical criticism of the modernist way of thinking about nature as something outside of us, and instead proposes an interconnected ‘mesh’ of all living and non-living objects. He ruminates on this idea in his essay for Living Earth entitled ‘What Is Dark Ecology’, stating at the outset that ecological awareness is ‘weird weirdness’. Living Earth is a 256-page trip with artists, thinkers, curators and other Dark Ecology participants into the dark space of rethinking nature and art, and it also contributes to the contemporary Anthropocene debate. The motivations behind the project and its impact are discussed in the interview with the curatorial team titled ‘Outside the Comfort Zone’, which opens the book.
    [Show full text]
  • The Poetics of Space Is Entirely Dedicated to Live Performances
    spatial explorations in art, science, music and technology 25 – 28 February 2010 • Amsterdam TABLE OF CONTENTS 4 introduction 6 opening 7 conference 28 live performance & film 45 exhibition 51 specials 54 publication 55 practical information 58 map 59 programme schedule 63 colophon intrOduction intrOduction Just to make entirely different approach to dealing with space involves you curious... focusing on the human body and senses. The quest for inner space in the 1960s and 1970s developed in parallel with the The title of the thirteenth Sonic Acts Festival, The Poetics of development of space travel and the exploration of outer Space, is derived from the English translation of the book La space. From the perspective of architecture as experience, Poétique de l’Espace (1958) by the French philosopher Gaston domes, developed for multimedia events, appeal to the imagi- Bachelard. In this work Bachelard meticulously describes the nation. The Pepsi Pavilion at the 1970 World Expo in Osaka, influence of space and architecture on humans and implicitly Japan, was an enormous immersive artwork, with the exterior argues for a new type of architecture based on experience and constantly enshrouded in smoke, and the interior filled with imagination, an approach that is not only rooted in science or reflective objects and light sculptures. functionality. Researching spatiality in the arts is the core of the Ever since the emergence of symphonic orchestras, festival. This involves a number of fundamental questions. composers and sound artists have expressly worked with How is space defined by a work of art? What does a viewer or the spatial aspects of sound.
    [Show full text]