the madness of the road transforms into … peace …

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Today is completely packed and busy: cleaning, organizing, and installing the show at the Greenbench for the gallery opening this evening. The title of the show is BURN and the show is obliquely or directly about hydrocarbons — plastics, production, consumption, distribution. Julian had tracked down a collection of oil samples from an early and now spent New Zealand (oil) field nearby (name?). I am surprised, oil — with the tectonic regime here, the foreshore of a plate boundary subduction zone. Ah, maybe the heat flow is actually lower when considering that because the immediate crust is double thickness with the subducting plate, so there is a lower heat gradient from the mantle. Shallow oil, guess I’d never thought of the genesis of such plays.

I use embodied energy to organize and clean the gallery kitchen for the opening, along with having numerous conversations with folks introduced from Julian’s extensive local network. He asks me if I will talk at the opening sharing some anecdotes about working in the oil business. Completely impromptu, though I had a minute to sit with a piece of paper before and write a five- or six-point list of things to remember to talk about. I am not the best story-teller, especially in such a situation, but folks politely listen to a few minutes of my rambling.

Later in the evening, raucous preparations over wine precede delicious dinner back at the house. Definitely some good cooks around!

The question for me becomes — how to keep track of the dialogues, and the warm humans encountered? Julian mentions there is an artist-residency possibility in town. It would be great to hang here for a time. Somehow, it reminds me distantly of Tornio, in Lapland, half-way ’round the world, literally, in the sense of it being a littoral backwater along a river in a small country, but the community here seems quite activated, and the differences between Finns/Lapps and Kiwis/Maori are complex and significant. Similarities do exist — it would be good to have the time to explore. It looks like there will not be any spare time in these 11 days for much autonomous explorations, although this is okay, as the people immediately surrounding Julian and Sophie’s lives provide a rich environment for encounter. And a site for the exchange of inspiration.

meander down to Roger and Neil’s place in Marrickville to observe the live Ethernet Orchestra network music collab that Roger is doing as a part of his thesis research. Neil whips up a delicious meal beforehand.

Abstract

The DCA project “The Road” is a psycho-geographic perambulation through a web of personal, social, and universal trajectories which form a new knowledge-base on the cosmos as an entropic system of energy flows. Within this worldview the project explores human presence, encounter, and interaction including a close look at the effects of techno-socially prescribed protocols on those indeterminate flows of energy. As a multi-modal online data-space, the project offers a variety of navigational strategies connecting a rich variety of audio, video, text, and image sources from the candidate’s extensive personal archive of creative material.

Introduction

The armature for this DCA as originally proposed was the concept of the amplifier. An amplifier is essentially a device that takes an incoming flow of energy (signal), and through an influx of power, generates a defined outflow of energy with a greater (directed) intensity. The amplification process needs an independent energy source to increase the signal strength. It also requires a set of protocols that guide the flow of energy from input through output: a coherent signal is a controlled energy flow as defined by applied protocols.

The road, as an expression of a techno-social system (TSS), exemplifies, or, more precisely, is one of these protocol-defined pathways. It was this realization during the last year of research which shifted my focus from the amplifier to the road as both a real and metaphoric concept that opens a rich space for inquiry. The road allows the TSS to express amplified energy flows along its protocol-defined pathway. It is not difficult to conceptually extend the idea of the road as any pathway for the directed and concentrated expression of energy of a TSS. (more …)

After eight weeks of intensive effort, sometimes re-writing almost from scratch a wide range of (English-second-language) articles, essays, and academic papers, the second and final book from the MigAA project is done and at the printers. Bravo to the Alfa60 designers, Joseph and Lina in Vilnius — perhaps this book will win awards like the last one did! And big kudos to El Jefe, miga, without whom, none of this would have come to pass, none of it!

This is the jacket blurb I wrote in ten minutes — the day Lina was sending the book to the printers!

We’ll be providing a pdf file of the book at some future date, after the final symposium and exhibition in Berlin (coming up this week! see info below), and when any sales of the existing print run are over and done with.

Presented by The European School of Visual Arts (EESI), the Academy of Media Arts in Cologne (KHM) and the Vilnius Academy of Arts (VDA)

Migrating:Art:Academies:

Conference – 15-16 October 2010, 13:00 – 18:00
Exhibition opening – 14 October 2010, 19:00
Exhibition – 14-16 October 2010
Opening times – daily between 10:00 – 19:00

Collegium Hungaricum, Dorotheenstrasse 12, Berlin

The two-year project Migrating Art Academies (MigAA) comes to a close with its Laboratory V Migrating:Art:Academies:. This exhibition and conference, organized in cooperation with Collegium Hungaricum Berlin, will map the territory around an ensemble of new and innovative forms of creative practice. During MigAA students from the European School of Visual Arts (EESI, FR), the Academy of Media Arts in Cologne (KHM, DE), and the Vilnius Academy of Arts (VDA, LT) traveled in Media RVs (recreational camping vehicles) throughout Europe, engaging the local cultural and environmental milieu, and creating art works “on the road.”

“The wealth of Migrating Art Academies was unanimously proclaimed by both the participants and by those who they encountered in the course of the project. This creative experiment was also an excellent educational laboratory and such laboratories undoubtedly play a critical role in a time of European-wide reforms in art education.” says Sabrina Grassi-Fossier, the MigAA coordinator and director of European School of Visual Arts, Angouleme/Poitiers.

The combined MigAA exhibition and conference does not claim to be a full picture but rather a presentation of life-sketches, fragmentary practices, and evolving processes. These active threads together chart a new territory for learning that turns away from most traditional academic strategies. This open event is meant to critically address this new approach and to open it up for public dialogue.

On Thursday, 14 October, Migrating:Art:Academies: will open with an exhibition of works by more than thirty students from the three European art academies at the Collegium Hungaricum Berlin. The selected projects, developed during the four consecutive MigAA laboratories in Berlin, Vilnius, Linz, and Royan, range from drawings and maps to installations and interactive works.

The laboratory will also present a 300+ page reader as a summary of the two years of distributed and mobile research. The book, divided into three essential parts – Migrating:, Art:, and Academies: – serves as a navigation supplement for the exhibition and the conference as well as the overall project.

The conference will take place on Friday and Saturday, 15 – 16 October and is divided into four panels: Migration, Education, Technology, and a final Round Table session with the participating students.

Friday, 15 October
13.00 : Migration panel
16.00 : Education panel

Saturday, 16 October
13.00 : Technology panel
16.00 : Final Round Table

About Migrating Art Academies

Migrating Art Academies is an ongoing joint educational project of three European higher education institutions: the European School of Visual Arts (EESI, FR), the Academy of Media Arts in Cologne (KHM, DE) and the Vilnius Academy of Arts (VDA, LT). Its primary purpose was to research and develop a progressive model of education that combines new and innovative forms of creative practice, collaboration, cooperation, and production. For the duration of the project, students had the possibility to work in an autonomous zone situated between virtual and real worlds, as well as between their normal home environment and new, unfamiliar places. The students investigated and engaged the local environment at the same time as developing creative projects in response to their experiences. The MigAA project is financed by the European Commission Culture Program 2007-2013. For more detailed information, please visit: http://www.migaa.eu/.

The conference language is English. Admission is free.

Migrating Art Academies team:

Mindaugas Gapsevicius (top e.V.), Sabrina Grassi-Fossier (Coordinator, EESI), Jonas Hansen (KHM), Zilvinas Lilas (KHM), Alvydas Lukys (VDA), Sylvie Marchand (EESI), Vaclovas Nevcesauskas (VDA), Martin Rumori (KHM).

ed: This short note is the epilogue for the Migrating:Art:Academies: book. Otherwise because the heavy duty editorial tasks, I didn’t have time to write something more comprehensive on the ideas surrounding movement and learning, maybe next time!

At Linda Leas cafe in Kanab, locals, non-Mormons pursue another religion, worship of java, across the street from the Church of Jesus Christ of Latter Day Saints. After the first night out. Wishing for a 4-wheel-drive vehicle to give a greater degree of risk possible. Snow or rain threatening in forecasts, and bentonite clay roads are impassable when wet. The guy working the BLM desk, old, over-weight, tobacco stains his white mustache brown, makes the warnings. He has to talk to foreign tourists and downstreamers a lot, surely. Folks who haven’t a clue about how it works out here. The Grand Staircase – Escalante National Monument is so large, and the country so unforgiving, surely they have to scrape up the dessicated or flash-flood saturated remains of folks every year. On the other hand, this is no monkey-wrench territory anymore, it’s just a place for cheap virtual entertainment via wheeled vehicles with windows. Maybe some stars glimpsed, a whiff of juniper blossoms firing off tart pollen.

Typing like I can’t get over it. Wanting to find something to use, utilize, make happen, profit from, in this movement, this travel, across these space. Spaces that have so little to offer in transit, and less to offer when living, settled, in them. Nothing arrives. Nothing comes. Even with some caffeine enhancement via cappuccino. (Cappuccino here, wondering about the spread, propagation, of cappuccino across Amurika). In territories defined by the dominance of thin and watery drip-grind served by waitresses named Flo or Blanch, in stainless diners. Now, instead, cafes with multi-colored chalk menus on the walls, starting with espresso, then cappuccino, then lattes, and so on, with as many permutations as the local consumers demand to enhance their sensibilities. Retro interiors: Naugahyde, Formica, Vinyl, Linoleum, garage-sale vintage, cluttered.

Accident intrudes on the evening hunt for a place to camp. Again the bentonite clay plays a significant role. Up from Paragonah, into the National Forest a few miles along Red Creek Canyon, and the road starts to get wet, then snow-covered, no match for my vehicle, reach a zenith and decide to backtrack. With no turn-around except back a quarter-mile, I start backing, and a bit too fast, get caught in some old tracks in the mud and bingo! In the very muddy ditch up to the axle, with an overhanging branch almost completely ripping the bike rack off the roof. Shiite! Climb out the passenger side window, shaken, cursing, looking at the graying sky and approaching dusk, and knowing the forecast for bad weather.

Mari invites me to join the Aether9 crew for a live improv video feed for Camp Pixelache @ Pixelache at the Kerava Art Museum in Kervo, Finland on a cold day in March 2010. I got up extra early and sent a live sunrise feed from Prescott, Arizona to the exhibition half-way ’round the world.

reflections on neoscenes :: drift

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blurb for SNO gallery exhibition web site, November 2009, NSW, Australia:

blurb for SNO gallery wall, December 2009, NSW, Australia:

The following quick essay was for the last and final edition of the annual netarts awards from the Machida Museum in Tokyo:

Chinese noodles, splattered on my black Nike top, staining it, it seems, permanently — what are they using in that food? too jet-lagged and displaced to make much sense about my ideas on ways to proceed. but surface my primary issues around Voice in writing, whether to do a straight thesis or a hybrid/experimental.

I want these encounters with Norie and Andrew to be mapped into the work itself, considering that perhaps they should be recorded.

PROPOSAL :: Networked: a (networked_book) about (networked_art)

(a) Name, address, URL, email and one page CV of author.

John Hopkins

http://neoscenes.net/

John Hopkins is a networker, artist, and educator occupied across a wide swath of techno-social systems with an extensive global network presence. He is active in numerous global creative networks beginning with the Cassette Underground and the Mail Art networks in the 1980′s and merging seamlessly into the propagating telecommunications networks of the present. He has engaged in many individual and collective dialogues concerning the facilitation of collaborative creative situations, and has facilitated or participated in numerous distributed projects.

http://neoscenes.net/info/cv/

(b) A 1000 word proposal that should be accompanied by an abstract of no more than 250 words and a list of keywords to indicate the subject area of the chapter. [Each of the commissioned chapters will contain text, images, videos, and/or audio.]

ABSTRACT (more …)

Title

Sonic Presence Within The Networked Regime of Amplification

This research explores the relationship of (sonic)energy to social be-ing, technology, and the consequent possibilities for creative action.

Subject

Sound is energy, sound carries energy. Sonic energy is a product and a by-product of life. It forms one expression of organismic presence. It is one particular energized expression of our band-limited life that developed its particular characteristics through evolutionary processes. These processes are essentially structured around variations in the (spatial and temporal) concentrations and availabilities of energy. As one such expression, sound is employed as one means through which humans enhance their survivability. Amplification represents a particular model for what is essentially a life-process that operates on various energy flows, modulating their basic characteristics. How human collectives generate and interact with sonic energy governs a wide swath of their consequent techno-social interactions. This research is a distributed exploration of sound as a carrier of energy between the Self and the Other — as it is mediated through the globe-spanning network of techno-social amplification systems. Specifically, it will be a critical exploration of our contemporary techno-social terrain through the application of this model in a variety of creatively energized situations.

Outcomes

Formally, outcomes will include the dissertation, live/online performances, workshops, a blog, festival participation, and conference presentations. Through developing an energy-based model that amplification provides an armature for, it is my hope that this research will generate a powerful tool for analyzing and understanding the dynamic affects of technological systems on creative human engagement at all scales. This knowledge will be applied to facilitate actual situations for this engagement to be explored.

Keywords

amplification, sound, (sonic) energy, power, technology, techno-social systems, networks, continuum of relation, dialogue, collaboration, presence, sustainable creativity, social action, entropy, thermodynamics …

Background for Research

While individual human presence in this world has fundamental repercussions on be-ing, it is the ever-present and synergistic exchange between humans — forming what I call a “continuum of relation” — that governs much of life. This energetic field of human relation is sometimes fraught with difficulties and complications in spite of the rich and necessary dynamic it brings to life. Technology, as a ubiquitous factor in mediating human relation, often dominates while presented as providing the only opportunity for mediated connection and interaction between humans.

Presence, as apprehended by the Other, circumscribes a range of sensory inputs that require energy (from the Self) to stimulate and drive. The efficacy and sustainability of human connection builds on the very real and tangible transmissions and receptions of energy between the Self and the Other. An interconnected plurality of dialectic human relation may be described as a network. These networks, made up of a web of Self-Other connections form the base fabric of the continuum of relation. Technology appears in these networks as the mediating pathway that is the carrier of energy from node to node, person to person. Technological systems also appear to apply absolute restraints on and attenuation of the idiosyncratic flows inherent in that continuum of relation. The discrete objects that populate the (technological) landscape of the continuum of relation and that modulate the character of communications are literally artifacts of a materialist point of view. A primary assumption in my research is that a materialist or mechanistic view of the world no longer suffices to adequately circumscribe the phenomena occurring within the continuum of relation. (more …)

Trans-disciplinarity is a popular expression for the need for thinking (and expressing!) outside the cubic space defined by any limited social system or sub-system. Innovative solutions are often found by combining many possible strands of thought from disparate disciplines and points of view. Critical engagement of a plurality of voices is essential when moving in trans-disciplinary spaces, and this will constantly be kept in mind to the degree possible. The use of language in a trans-disciplinary space is a particular challenge which, to a significant degree, determines the successful outcome of the attempt to bridge disciplinary spaces. Indeed, disciplinarity is often defined by the cumulative social use of a specific linguistic system that is exclusive to the discipline. As a former engineer, and now as an educator and artist for the past two decades, I have significant experience in coherently bridging the somewhat isolated linguistic spaces that define those different ‘worlds.’

It is clear that there is a solid need for this kind of inquiry in the trans-disciplinary space of techno-social systems given the intensity of technological development and the complexity of globalized human presence. It is my desire to contribute to the search for sustainable principles and systems that honor first the need for a healthy continuum of human relation instead of placing technological solutions at the forefront. This, at the same time as acknowledging the fundamentally symbiotic inter-relationship of the two concepts.

Concerning Particular Methodologies

Dialogues, Networks, and Collaboration — Much of my creative practice, research, and indeed, presence is built on the activation of robust and sustained dialogues with a wide range of Others both remote and local. These dialogues form a network. The most powerful situation I can imagine for creative research and production is an open human network. I am keen to engage on the ground with the Australian, Sydney-based, and UTS creative community. I am familiar with the milieu, having been in Sydney for six weeks in 2006 as a visiting artist at COFA, and I very much look forward to being there again. I have an extensive personal/professional network of Antipodal creatives which dates back to the early 1990s that I will be pleased to activate on a more face-to-face basis.

Distributed Performance — My own applied international research in distributed performance and tactical media over the last fifteen years is centered around synchronous live network-based social activities. Engaging a wide range of technical solutions, my work is a direct utilization of amplified digital networks as the locus for creative action. These areas of research experience include a variety of performance-based activities in theater, dance, sonic, and other expressive arts occurring in or augmented by collaborative networked situations. As a self-proclaimed networker, an area of core awareness in my research is the concept of presence — and how that human presence is directly and indirectly affected by any/all technologies that filter and attenuate that presence: how human expression across a network system is precisely formed and informed by the impression of the technologies used.
(more …)

I spaced-out posting the netarts 2008 selections last November. here’s my brief jury comments:

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Kim proposes a new microsound project, making sound tracks for the experimental films of David F. Wallace’s fictional character James O. Incadenza in the book Infinite Jest. I pick Kinds of Light as it immediately strikes and then patch together an obsessive piece in 24 hours (4,444 frame splices on a multi-track of a water performance in Pool Creek Canyon (changing the course of history)), shatter-welded with audio from video footage of standing at a confluence in the West Elk Wilderness entranced by the Pele’s hair of water coming from the sun). definite sonic hyper-retinality.

I missed Wallace during my North Amurikan vacancy of the last 20 years. surprised I hadn’t run across him randomly, though, given the households that I have ramble through on the nomadic way. George knew him and speaks highly of his character. sadly for all of us, another victim of the intensity of be-ing. I plow through Oblivion, and a couple other books that I managed to recall at the library. extremely dense. the first short story I read drove me, half-way through, into a delirious sleep from which I woke ten minutes later, not knowing where I was. jittery, caffeine-fueled, precise jewels. you see the faceting process, the cutting of the entire glittering crystal, a tedium of focus, the high-speed grind with diamond grit, a rocking, polishing movement across the charged wheel. spun tales. fiber glass. each brittle thread opening a bloodless wound which nano-gapes at the whole fuckin’ world, all at once. he would be Brakhage’s cinematographer if Brakhage was blind and able only to see the inside of his eyelids.

“Kinds Of Light” – B.S. Meniscus Films, Ltd. No cast; 16 mm; 3 minutes; color; silent. 4,444 individual frames, each of which photo depicts lights of different source, wavelength, and candle power, each reflected off the same unpolished tin plate and rendered disorienting at normal projection speeds by the hyper-retinal speed at which they pass. CELLULOID, LIMITED METROPOLITAN BOSTON RELEASE, REQUIRES PROJECTION AT .25 NORMAL SPROCKET DRIVE

Palli‘s MFA thesis project nude studies at Concordia is up and running…

Automated nude studies abstracted through geological intervention. Simultaneous geophysical interpretations of notions of nude-ness in the real-time of natural forces. Tectonic ripples through the core of the Earth.

data mining, cross-correlation of disparate data-sets, data interpretation. how to interpret incoming data. how to make sense? does any one making-sense method excel over another? if it’s measured by viability and sustainability, where does art fall? the survivors are the ones left behind. the winners transcend? waiting for the cataclysm. knowing the codes of seismicity, and models of the rumbling earth, and the consequences of it all, taking it onto the body maybe illustrates our disconnect from the elemental. but how to get it back, how to reveal the elemental? dig hands into the dirt!

neoscenes cranks up the sonic streaming for the global 2008 art’s birthday party with friends in Austria, Japan, Germany, Canada, France, Australia, the Czech Republic, and elsewhere.

Thursday, 17 January 2008, live web-mix — this audio stream will be a sonic redux from the neoscenes.net archive of various birthday parties recorded during the last year as well as the travel necessary to get to them.

1800-1900 (GMT) London
10:00-11:00 PM PST (GMT-8) Los Angeles
1:00 – 2:00 PM EST (GMT-5) New York
2000-2100 CET (GMT+2) Helsinki
Friday 0500-0600 (GMT+11) Sydney

–> tune to the live stream — rtsp://qt2.waag.org/birthday.sdp

ART’s BIRTHDAY is an annual event first proposed on January 17th 1963 by French Fluxus artist Robert Filliou. He suggested that 1,000,000 years ago “A man took a dry sponge and dropped it into a bucket full of water. Who that man was is not important. He is dead but art is alive.” Filliou’s ideas have inspired many artists until today.

After Filliou’s death in 1987, some artists began to celebrate Art’s Birthday with mail art, fax and slow scan TV events in the spirit of his concept of “The Eternal Network” or “La Fête permanente”. The birthday parties took place in different cities across the world and artists were asked to bring birthday presents for Art — works that could be shared over the network.

Art’s Birthday Party has never been a formal event, but was always organized on an ad hoc basis through the network. Every participating location (and they are different every year) organizes its own party — from a few friends in a private studio to a performance evening in a museum or gallery. Filliou’s invention of Art’s Birthday is wonderfully absurd and humorous in the typical Fluxus tradition of serious fun. So the global birthday party for art has always tried to be fun while paying homage to Robert Filliou’s dream of The Eternal Network. — Robert Adrian, 2005

I was a co-curator again this year for the annual netarts.org 2007 awards. it was a tough year for finding fresh takes under our call for works:

Embodied Praxis – Real Life 2.0

For those of us who use the net, watch TV or SMS friends, we find that we tend to spend a lot of our time peering into one screen or another during our waking hours. Changing images float in front of our eyes as the disruptive sounds and jingles of our prosthetic devices keep us under the spell of the network. Texts flow into focus for as long as we need to retain them, and just as effortlessly gush out again through our fingertips into the ether.

Embodied Praxis – Real Life 2.0 draws on these telematic interactions and examines how art and artists take up these strands and weave them into daily life. However, the projects showcased will not dwell on the ways in which these digital traces are drawn from our lived lives rather they will manifest how our real lives are constructed around these embedded threads; and how their telematic substance is injected into the praxis of daily life.

The projects selected (will) track those nomadic flows as they are propelled across borders and through different languages; producing scenarios – political, commercial and cultural – that net those fluctuating moments in new and distinct cultural spaces. Although we recognize that these specific moments – such as sending/receiving an SMS or a real time interaction in Second Life are primarily transitory in their essence and serve more to de-localize us in non-spaces than locate us in embodied space – we also acknowledge the ways in which these concrete threads actively constitute the social self and, by association, serve to construct the complex fabric of Real Life.

and I wasn’t consistently online to be able to focus as well as I should have, but even still there were some nice projects to be seen, and the honorable-mention list is very interesting.

Grand Prize: Feral Trade by Kate Rich
http://www.feraltrade.org/

an honorable mention went to Isabelle Jenniches for The Call

meet Wolfgang at the Pergamon and on to an exhibition at the Mitte Museum am Festungensgraben that some of his students participated on. Sensing the streets.

Farben, Töne, Gerüche – viele Sinneseindrücke, Stimmungen und Empfindungen werden beim Gang durch eine Strasse ausgelöst. Um diese sinnliche Wahrnehmung städtischer Räume geht es in der Ausstellung “Sensing the Street. Eine Strasse in Berlin”. Sie ist Ergebnis eines gemeinsamen Forschungs- und Ausstellungsprojekts des Instituts für Europäische Ethnologie an der Humboldt-Universität zu Berlin sowie dem UNI.K –UdK. Studio für Klangkunst und Klangforschung und dem Institut für Kunst im Kontext an der Universität der Künste Berlin. Am Beispiel von drei repräsentativ ausgewählten Strassen – Acker-, Adalbert- und Karl-Marx-Strasse – wird der Strassenraum multisensorisch, d.h. visuell, auditiv, olfaktorisch und taktil erfahrbar gemacht.

I meet and talk to Friederike, one of the students involved at some length, mainly encouraging her with the project — they have, indeed, made a very nice manifestation of research. and this is only the first of three absolutely different exhibitions in different venues entirely in the next two weeks. I would wish to be around for the other two. it was an opening, so that it was crowded and hot, but we got there earlier than the crowds and got to check out the especially provocative audio and video works.

Art is the image of a human being, This means that when a person is confronted with art, then they are in fact confronted with their own self, and so open their own eyes. And so it is the creative person who is addressed, their creativity, their freedom, their autonomy. And this is only possible using the concept of art, however, this concept must be made more comprehensive. You cannot and should not deal with this concept traditionally and say: that is what artists do, and that is what engineers do?. but you can get beyond the concept. And the only escape route is a more comprehensive concept of art that is anthropological and that is taken seriously: that everyone is an artists, and that every person has a creative core. — Joseph Beuys

Wolfgang and I continue our conversation a bit later at a cafe (after I meet Barbara, an old friend of Volker’s!), then I race back over to the Pergamon for a longer walk-through, then it’s back home to get some packing done. Roman is there and asks for some help editing a copy of the manifesto that he and Alexei are working on for Transmediale. then I crash for the early wake-up.

in the midst of Frieder’s piles of books and papers to-be-dealt-with (meticulously organized, to be sure), is a copy of Mark’s new book on MIT Press, meta/data. a remix auto-biography of his last 15 years or so.

comparing/contrasting to my own traces is a strange flux of feelings. where practice is sampled (how, what, and into what form) and translated (re-mediated) into another form. it is only the form of the mediation that determines the relative fed-back social efficacy of the individual (or social sustainability of the individual’s praxis). the books points to, alludes to, hints at, expands upon, posits, and invents a praxis, part of which is the reflexive re-creation of a praxis. but does it engage in an authentic praxis that is not about pragmatism and social role-playing?

it is clear that it is the choice of propagation channels that ultimately determines how the Self is or is not rewarded by the larger social system. it is also clear that these choices will also have a profound affect on the human relationships that ensue.

how to select those forms? Mark’s book and documented practice seems optimized, pragmatic, and formal (that is, formed to optimally integrate into an existing social reward system). the question of form returns again and again. along with the embedded-ness within a social system that has strictly limited pathways for reward and punishment.

I understand the principle, but choose to engage in the praxis which supersedes the documentation of the praxis. although I continue to write, make images, sound and video works, and so on — none of which garner any attention whatsoever.

the presence of the personal network of a handful of deep supporters is the only plus to the path of the praxis. otherwise, might as well be living on the streets. or simply finished off with the whole thing.

head down to San Jose State University Art & Design Department to the Cadre Laboratory for New Media run by Joel Slayton for a seminar in their Speaker Salon presented by two of the principles of Neighborhood Public Radio, Lee Montgomery, and Jon Brumit.

immediately prior to that I checked out some of the MFA exhibitions that were happening around the art building. ran across some work by Wendy McDermott which was quite nice — refined metal objects dealing with narrative, stories, and her personal network.

afterward, a small group of us retire to the Excelsior Hotel in downtown (after I find the $51 parking ticket on the windshield!). good to get some face time with these guys

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the share event at Club Transmediale goes relatively smoothly. some glitches, but overall seems pretty good from the vantage point of the guest bedroom in Livermore. Montreal and Bremen and I form the remote triad, while a crew of share folks from New York, Wiesbaden, Switzerland, and Montreal staged the live and seemingly wild event on the ground in Berlin.

our arts birthday stream goes down smoothly, though I never did succeed in tapping into the actual European Broadcasting System satellite output feed of the event. August recorded the stream file on his Linux box.

Wes invites me to jump into what turned out to be an excellent evening — cycled down to fishbon (see their blog) — a weekly salon for an eclectic group of cultural activists in Santa Barbara. the evening starts with a demo of the Wii by a local teen, then a Kung Fu demo advertising the establishment of some special courses starting in the fishbon space. Wes and a friend do a MAX/jitter visual/sonic performance, and after that I do a very short 15-minute improv with VDMX.

and shortly, my talk in the IHC:

tech-no-madic pathways: networks and sonic energy

This talk, framed in observations from 20 years in the Cultural-Industry Sector of Europe and North America, will look at the energetic intersection of body and sound in the midst of chaotic social systems and restless movement. It will doubtfully answer the following questions among a thousand others: What does it mean to be a sound artist? What is a sustainable creative practice? What are we doing here? How did it end up this way? Afterward, let’s talk!

my network friend, Varsha Nair, invited me to join this project, you can see my contribution either on my site or with the rest of the official exhibition site.

The project, No Man’s Land invited 65 participants from diverse locations and backgrounds to utilize cyber-space as the primary platform to present works addressing the territorially imagined line of the border, its powers of inclusion and exclusion, and its ability to simultaneously promote both unity and conflict. Borders also define our sense of nationalism, giving rise to a sense of belonging or not-belonging and informing historical and current cultural practices that influence our senses of nation-hood and ownership.

Participating artists: Yoshiko Shimada, Barbara Lattanzi, Renata Poljak, Tejal Shah, Phaptawan Suwannakudt, Terry Berkowitz, Kai Kaljo, Dragana Zarevac, Roland Bergere, Manit Sriwanichpom, Susanne Ahner, Pisithpong Siraphisut, Patricia Reed, Mella Jaarsma, Mideo Cruz, Mona Burr, Manu Luksch/Ambient TV, Karla Sachse, Martin Zet, Wen Yau, Traci Tullius, Tintin Cooper, Jerome Ming, Estelle Cohenny-Vallier, Katherine Olston, Pinaree Sanpitak, Sutee Kunavichayananda, Lawan Jirasuradej, Sara Haq, Karen Demavivas, Nigel Helyer, Nilofar Akmut, Andrew Burrell, Pamela Lofts, Beatriz Albuquerque, Kirsten Justesen, Maryrose Mendoza, Hsu Su-Chen, Michael Bielicky, thingsmatter, Arahmaiani, Kate Stannard, Judy Freya Sibayan, Chaw Ei Thein, John Hopkins, Farida Batool, Baiju Parthan, Liliane Zumkemi, Noor Effendy Ibrahim, Tamara Moyzes, Ana Bilankov, Chakkrit Chimnok, Suzann Victor, Marketa Bankova, Sue Hajdu, Jim Previtt, Keiko Sei, Suvita Charanwong, Noraset Vaisayakul, Konrad, Reiko Kammer, Silvia Pastore, Felipe, Chitra Ganesh, Varsha Nair.

finally starting to gather work for no man’s land, a collaborative online project organized by Varsha Nair and Katherine Olston of womanifesto international art exchange based in Bangkok, Thailand. (photo by Manit Sriwanichpoom)

Consider this territorially imagined line — the border, its powers of inclusion and exclusion, and its ability to simultaneously promote both unity and conflict. Borders also contain/define/give rise to our sense of nationalism, and related historical and current cultural practices and narratives that are perpetuated in a variety of ways help to define ones sense of nation-hood and ownership.

Consider, also, the ‘no man’s land’ itself; it is at once, the in-between space of the border, the border-less scape of cyber space, and the place within us that cannot so easily be explained by the nationality on our passport. The no man’s land, in all its diversity is a relevant space that is the reality of many in the globalized world of today.

The netart 2004 exhibition is opening tomorrow, well, today, as Tokyo is ahead of Arizona. Here’s the blurb posted as my curatorial commentary:

logfile

Heading to the dentist this morning after 36 hours of pain. Disgusted with my previous two dentists in the US who didn’t listen to my suggestions that there were problems with a crown that was made by one of them.

Anna, the dentist here in Helsinki listened and agreed with my diagnosis, examined the problem and corrected it (with the hope that the symptom had not developed to the point to require a root canal after her intervention).

At any rate, she reduced the lateral occlusion to such a degree that it should slowly reduce the irritation caused to the root, crossed fingers, got to get some ibuprophen to deal with the dull pain, though. Back home on the now-crowded ferry. School children by the hundreds on outings to the island, met by actors dressed in period costumes: “history-come-alive!”

Now, on to the FLOSS meeting online at V2 in Netherlands, remotely.

Geert (introducing): Rishab Ayer Gosh — intro to code culture and economics — code as society; collaborative production is not a new concept generally but economics of collaborative production is new; is there a difference between an idea and the embodied ‘result’ of the idea’s implementation? how does the ultimate use affect the process of the tool creation. If all remains in the space of ideas (i.e. no real outcome, is it necessary to be concerned about the economic structure? Raytheon. parity with .com world? something more? just free, just open? design?

My notes degenerate into noize.

There were few real opportunities for interaction from the audience, and less so for the few who attended on IRC / streaming. The one question I did manage to address to Rishab had a surprising answer:

13:06: jhopkins: talking about code is talking in a fully enclosed symbolic system of representation — what is the relationship between the real (physical!) world and the world of intellectual activity and ideas — where does the interface occur?
13:06: jhopkins: not sure if that is clear, but…
13:06: jhopkins: same as economics as being an abstracted symbolic system representing the ‘real’ physical world…
13:07: jhopkins: we live in both, and both are intertwined, but what are the characteristics of that intertwining…
13:07: FLOSSer: in terms of actual time+activity?
13:07: jhopkins: yeah, actual lived experience…
13:08: jhopkins: or lived be-ing
13:08: jhopkins: the economics presented here seems a bit isolated from the real…

Rishab basically said there was no difference between the two — between the symbolic representation and the thing itself. Same issue I run up against in other situations (the empyre list most often) where this is a basal unquestioned/unconsidered assumption. Why is this such a dogmatic position?

the final day after some power-full sonic / visual performances last night including a nice visual-sonic collaboration between Sara Kolster and Derek Holzer of umatic. discussion starts with a presentation from Armin Medosch who makes an eloquent outline for the future replete with lessons from the past.

but many here have a passionate and singular dedication to the ‘solutions’ offered by technology. this I can only subscribe to a lack of experience in seeing the mapping from hype to reality of other, previous techno-utopias. am I a cynical oldster? there is an overt exhibiting of ‘critical intellectual discourse’ on the face of it, but the proceeding praxis is merely an over-heated implementation of a skewed representations of reality. hmmmm. a reference to the rhetoric of prior situations would be helpful.

The Alvar Aalto vase in the corner of the room is full of a bouquet of tulips I picked up at the Market before getting on the ferry a couple days ago. Why so rare that I buy flowers? Un-necessary expense in a tight year, and all recent last years have been tight. Seems all years have been tight. And yet here I am living rent-free in a small flat in a UNESCO World Heritage site complex, getting a small stipend to be an artist.

But anyway. Pure silent morning, even the far-away sound of the city has vanished, warm, the frost on the roof across the courtyard is only lingering in the shadows. Probably should do a ride this morning with the vidcam. Pick up some quiet ambiance. But will take the day slow whatever.

Son(net) subterfuge over. Didn’t get a debrief from Josephine yet. Seemed to go okay, I had one VDMX glitch, and a restart, but since she also had a stream from NYC, it seemed to work okay, from the limited view I had of the performance via their QuickTime stream. Choreography could have been tighter — at least my knowledge of the cycling — but overall, I think it went well. Probably the most formal outgoing streamed performance I’ve had before. I was nervous even!

19
Devouring Time, blunt thou the lion’s paws,
And make the earth devour her own sweet brood;
Pluck the keen teeth from the fierce tiger’s jaws,
And burn the long-liv’d phoenix, in her blood;
Make glad and sorry seasons as thou fleet’st,
And do whate’er thou wilt, swift-footed Time,
To the wide world and all her fading sweets;
But I forbid thee one most heinous crime:
O! carve not with thy hours my love’s fair brow,
Nor draw no lines there with thine antique pen;
Him in thy course untainted do allow
For beauty’s pattern to succeeding men.
Yet, do thy worst old Time: despite thy wrong,
My love shall in my verse ever live young
– William Shakespeare

moved into the fifth year of this travelog, the time is compressed. recognizing characteristics from place to place. histories are tired and prone to repetition. the roads have been one after another to the same places, mostly. the adventure to Riga through Tallinn was exciting as it allowed me a certain manifestation freedom to loosen up from what has been a grind of almost continuous teaching and work for the past two years. wandering the streets, not doing a whole lot. free of digital thinking, and merely observing. no documentation at all. well, making some photos, but not so many. like the atmosphere at the beginning of this log.

massive busy-ness over the weekend with the ~/Connected conference at the Lasipalatsi. Tapio had asked me earlier if I could help out with activities on the ground, and although I was pretty busy anyway, I was around to help, then ended up being quite involved in the discussions, and even made a short public presentation at the end in Bio Rex, dealing with best-practice scenarios for education/learning situations. Polar Circuit was held up as that model in learning situations, along with the idea of open-platform, socially balanced situations.

/~Connected press releases for local and translocal use

Cultural industries and independent media cultural production are of primary importance for Finnish policy development, as a new program, “Content Finland” is being drafted during next year. In each European country, goals of both national and transnational media culture have been met with different strategies. Through /~Connected knowledge and shared experience, it is possible to form models of best practice – and principles for both national and European policy.

The driving force behind this event and series of other meetings prior to it is the ECB, European Cultural Backbone (http://ecb.t0.or.at/, http://www.e-c-b.net/). It is a network of media cultural organizations, centers, and active individuals throughout Europe, not only European Union member countries. To quote Dr. Peter Wittmann, Austrian State Secretary for the Arts, “The European Cultural Backbone is the logical extension of this ongoing dialog between cultural practitioners and policy makers regarding strategies of “practice to policy” on both national and European levels.”

The Main organizer of /~Connected, the Lasipalatsi Media Center, also seeks to discuss how European media centers could increasingly collaborate. How to best connect venues of presenting media culture and sites that produce it? Support of networks, bandwidth, mobility, distribution and production are key factors for policy discussion.

Traditionally, in a European democracy, public space has been defined through access to public institutions, freedom to move in city spaces and through the existence of certain democratic instruments such as public libraries and publicly supported broadcast media. New media, Internet in particular, has made it possible to more actively shift content production to smaller units or groups. Creation of public space can mean support for content production and communication that does not focus on a single mass audience, but particular communities (or consumers) and layers within the larger society and the networked world. Major issue for debate is thus to consider, how to best connect various models of best practice and policy that enable cultural production in a networked, changing Europe.

The seminar takes place in the very center of Helsinki, in Lasipalatsi Media Center (http://www.lasipalatsi.fi). Meals during the conference program are provided for by the organizers and there is no attendance fee. We are providing air fare and accommodation for a group of participants that comes from smaller media centers and organizations. We are happy to assist your travel arrangements by providing information on accommodation and flights.

/~CONNECTED brings together practitioners, producers and policy makers within contemporary media culture in Europe. Its attempts to create exchanges of experience and information between organizations and individuals from different fields: media cultural organizations, media centers, policy makers on a local, national and European level, media art organizations, corporate research labs and university researchers.

Following events such as P2P conference in Netherlands and Networking Centers of Innovation in Austria, it explores the ways in which local experiences can be compared, exchanged and rewritten to form models of best practice.

The event will officially launch the ECB, European Cultural Backbone, a network based on trust and a shared interest to promote a rich media cultural practice, which already flourishes in Europe. The network proposes that an Internet Backbone or a set wide bandwidth would be subsidized by the EU in order to enable transnational media production, broadcast transmission of events and inexpensive communications. The ECB acts as an advisory body for the policy makers nationally and within the EU.

/~CONNECTED is very much about the goals of the ECB:

1) Bandwidth for media culture
2) Support for models of best practice
3) Active investigation of what European media culture consists of
4) Enhanced networking between media cultural organizations, individual hubs” and policy makers.

/~CONNECTED refers to the ways in which media cultural local practices and organizations create collaboration, projects, discourse and policy across and partly independent of national borders. Emerging networks, projects and content are no longer international, but translocal by nature, already connected.