karla's blog

ZOOMWOOZ ::: Trabajo en proceso | mARTadero | Arte y Cultura | Cochabamba Bolivia

noreply@blogger.com (karla) — Wed, 25 Apr 2012 17:23:00 PDT

_____ENGLISH BELOW___________

Presentación pública del Trabajo en proceso

El lunes, 30 de abril presentamos zoomɯooz (Trabajo en proceso) en el mARTadero / Cochabmaba. Será un live-video de corta duración con una charla en seguida.

Habrá un live-streaming para los que no pueden asistir:http://www.ustream.tv/channel/martadero

Karla Kracht y Andrés Beladiez

INFO

Lunes 30 de abril 20:00 hrs

mARTadero | Sala de la carne robada

27 de agosto

Cochabamaba

_____ENGLISH __________________

Public presentation of the work in progress

On monday, april 30 we’ll present zoomɯooz (work in progress) at mARTadero / Cochabmaba. It will be in form of a short live-video-performance and a little talk afterwards.

For those who can’t assist, there’ll be a live streaming of the event at http://www.ustream.tv/channel/martadero

Karla Kracht y Andrés Beladiez

INFO

Monday 30.04.2012

20h (Bolivian Time » 2AM EUROPEAN TIME)

mARTadero | Sala de la carne robada

27 de agosto

Cochabamaba

ZOOMWOOZ ::: Trabajo en proceso | mARTadero |

Gilles Deleuze: ¿Qué es el acto de creación? 1/5

noreply@blogger.com (karla) — Sun, 15 Apr 2012 18:10:00 PDT

En construcción….

noreply@blogger.com (karla) — Thu, 12 Apr 2012 19:35:00 PDT

En construcción….:

En construcción….

Live from the Surface of the Moon in Cochabamba, Bolivia

noreply@blogger.com (karla) — Wed, 11 Apr 2012 19:43:00 PDT

Live from the Surface of the Moon in Cochabamba, Bolivia: CASTELLANO ABAJO

Tomorrow night I present Live from the Surface of the Moon at ICBA Instituto Cultural Boliviano Aleman | Cochabamba

Friday, 13 April 2012 - 19:30
ICBA Instituto Cultural Boliviano Aleman | Cochabamba

Calle Lanza # 727, entre Chuquisaca y La Paz.
Cochabamba, Bolivia

MAP

DESCRIPTION

Live from the Surface of the Moon is an audiovisual performance, where a mix of old, analogue lo-fi techniques deriving from visual arts and theatre (painting, use of mirrors, mirror, mini-stage, objects, lo-fi theatre lightning, analogue sound recordings) with contemporary live technologies (live camera, VJ tools, live video mix, midi for sound and image) is employed. The result is an organic, surrealistic and humorous journey through space and time. A live broadcast from the moon and the outer space around it.

Karla Kracht transports us to the outer space, the Moon and its dark side, black holes… Using small, hand-painted sets of the moon’s surface as the scenery for this animation, Miniature paper characters surprise us with their unpredictable adventures. All this happens in real time, mixing stop-motion techniques, model constructions and light design with a videocamera and live cinema software.

Ilia Mayer creates dark and spooky sonic landscapes in real time, manufacturing distorted cacophonies from extraterrestrial worlds, samplers of unknown origin and proper electronic composition with the rhythm of a drum machine.

VIDEO PREVIEW

_____CASTELLANO_______________________________________

Mañana se presentara Live from the Surface of the Moon en el ICBA Instituto Cultural Boliviano Aleman | Cochabamba

Viernes, 13 Abril 2012 - 19:30
ICBA Instituto Cultural Boliviano Aleman | Cochabamba

Calle Lanza # 727, entre Chuquisaca y La Paz.
Cochabamba, Bolivia

MAPA

DESCRIPCIÓN

Live from the Surface of the Moon es un performance audiovisual, en el cual se mezclan técnicas low-fi heredadas de las artes visuales y escénicas (pintura, uso de espejos, maquetas, objetos, iluminación low-fi, sonidos analógicos) con tecnologías contemporáneas (live camera, herramientas de Video Jockey, live video mix, midi para sonido e imagen). El resultado es un viaje surrealista, critico y lleno de humor. Una video-transmisión en directo desde la superficie de la luna sus alrededores.

Karla Kracht nos transporta visualmente a un escenario de animación en directo donde unos diminutos personajes de papel y pintura nos sorprenderán una y otra vez con las más disparatadas peripecias. El espacio exterior, La luna y su lado oscuro, agujeros negros…. Todo ello en directo, mezclando técnicas de stop motion, modelismo e iluminación con una cámara de vídeo y programas de live cinema.

Ilia Mayer crea un paisaje sonoro oscuro y fantasmal en directo, recreando cacofonías distorsionadas de mundos extraterrestres, utilizando para ello diferentes materiales sonoros, bancos de sonido de la NASA, samplers de origen desconocido y composiciones propias a ritmo de “drum machine”

VIDEO PREVIEW

Live from the Surface of the Moon – Cochabamba

noreply@blogger.com (karla) — Sat, 07 Apr 2012 16:27:00 PDT

Live from the Surface of the Moon – Cochabamba: Live from the Surface of the Moon at ICBA Instituto Cultural Boliviano Aleman | Cochabamba

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Expanded Choreography [Barcelona]

noreply@blogger.com (karla) — Tue, 20 Mar 2012 12:08:00 PDT

Expanded Choreography [Barcelona]:
Expanded Choreography. Situations, Movements, Objects… :: March 29-31, 2012 :: Museu d’Art Contemporani de Barcelona (MACBA), Plaça dels Àngels, 1 08001, Barcelona, Spain.
In the last few years the term ‘choreography’ has been used in an ever-expanding sense, becoming synonymous with specific structures and strategies disconnected from subjectivist bodily expression, style and representation. Accordingly, the meaning of choreography has transformed from referring to a set of protocols or tools used in order to produce something predetermined, i.e. a dance, to an open cluster of tools that can be used in a generic capacity for both analysis and production.
Choreography is today emancipating itself from dance, engaging in a vibrant process of articulation. Choreographers are experimenting with new models of production, alternative formats have enlarged the understanding of social choreography considerably and are mobilizing innovative frontiers in respect of self-organization, empowerment, and autonomy. Simultaneously we have seen a number of exhibitions concerned with choreography often placed in a tension between movement, situation and objects. Choreography needs to redefine itself in order to include artists and others who use choreographic strategies without necessarily relating them to dance. At the same time, it needs to remain inclusive of choreographers involved in practices such as engineering situations, organization, social choreography and movements as well as expanding towards cinematic strategies, documentary and documentation and rethinking publication, exhibition, display, mediatization, production and post-production.
In short, choreography is currently experiencing a veritable revolution. Aesthetically, it is turning away from established notions of dance with its strong association with skill and craft, to instead establish autonomous discourses that override causalities between conceptualization, production, expression, and representation. At the same time it is gaining momentum on a political level as it is placed in the middle of a society to a large degree organized around movement, subjectivity and immaterial exchange. Choreography is not a priori performative, nor is it bound to expression and reiteration of subjectivity, it is becoming an expanded practice, a practice that in and of itself is political.
The three days conference is dedicated to choreography but will include participants from the fields of visual art, art history, performance studies, cultural studies, dance and philosophy. A series of lectures will be alternated with conversations, discussions, panels and coffee-breaks. The participants will experience the exhibition Retrospective by Xavier Le Roy at the Fundació Tàpies as well as other significant works. The intent of the conference is to introduce different perspectives and locate a departure point for a discourse particular to choreography as an expanded practice, away from artistic research and into other worlds.
With Bojana Cvejić, Dorothea von Hantelmann, Graham Harman, Ana Janevski, André Lepecki, Xavier Le Roy, Maria Lind, Isabel de Naverán, Luciana Parisi, Goran Sergej Pristaš, Mårten Spångberg, Francisco Tirado, Christophe Wavelet and others.
The conference will result in a major anthology.
An event organized by the Museu d’Art Contemporani de Barcelona (MACBA), the University of Dance and Circus Stockholm, the Fundació Antoni Tàpies and the Mercat de les Flors, with the support of the Swedish Research Council and the Swedish Arts Grants Committee, on the occasion of the exhibition Retrospective by Xavier Le Roy at the Fundació Antoni Tàpies. Devised by Mårten Spångberg.
MACBA Auditorium. Free admission. Limited seating

For further information write to: programespublics [at] macba.cat

Venues: MACBA, Fundació Antoni Tàpies, Mercat de les Flors
Image: © Xavier Le Roy, 2012. © Fundació Antoni Tàpies, Barcelona. Photo: © Linda Valdés, 2012. Published under a CC BY-NC-SA license.

ROJO® presenta el festival ®NOVA Cultura Contemporánea 2012

noreply@blogger.com (karla) — Sun, 18 Mar 2012 14:49:00 PDT

ROJO® presenta el festival ®NOVA Cultura Contemporánea 2012:

Del 6 de abril al 31 de mayo de 2012. Sao Paulo y Río de Janeiro, Brasil.

®Nova Cultura Contemporánea es un festival multidimensional de arte, que reúne a la vanguardia internacional de música contemporánea y artes visuales y audiovisuales. El festival surge de una idea de ROJO® y cuenta con más de 100 artistas invitados y la colaboración de MIS -Museu da Imagem e Som- y SESC Pompéia.

“El día de la inauguración, viernes 06 de abril a las 12h, la exposición presentará más de 50 conciertos de música, contará con la participación de más de 100 artistas nacionales e internacionales trabajando en vivo y en directo. En los espacios culturales de São Paulo y Rio de Janeiro, los artistas se agruparán en equipos de trabajo colaborando entre ellos. De esta forma, la exposición se mantendrá en continuo movimiento y creación hasta la última semana de la muestra, donde se realizará la gran fiesta de clausura.

Durante 55 días ®NOVA ofrecerá más de 80 horas de cine, artes plásticas y vídeo-arte para generar una experiencia única; apuntando a la diversidad cultural del arte contemporáneo con el uso de colores, luces, texturas, música, diseño y composiciones artísticas colaborativas e integradas.

El festival es una gran obra de construcción en vivo, que combina arte visual, experimentación, técnicas contemporáneas, recursos tecnológicos, y pasión. La idea surgió de ROJO®, fundado hace 11 años en Barcelona por David Quiles Guilló; director y comisario de la exposición, cuyas ediciones anteriores ya han pasado por São Paulo, Los Angeles y Río de Janeiro.

Entre los artistas invitados está Bill Viola (EE.UU), Mouse on Mars (Alemanha), Jay Jay Johanson (Suecia), Gonjasufi (EE.UU), Levi Van Veluw (Holanda), Thiago Pethit (Brasil), Yolanda Domínguez (España), Ryoichi Kurokawa (Japón), Mulheres Barbadas (Brasil), Boris Hoppek (Alemania), Good Wives & Warriors (UK), Rafael Rozendaal (Holanda), entre otros.

En São Paulo, la exposición se realiza, con la asociación de MIS – Museu da Imagem e do Som- y con el SESC Pompéia. En Rio de Janeiro, el festival tendrá la sede en Oi Casa Grande que contará con 4 grandes eventos basados en shows musicales y visuales; también con un mini festival de 8 shows en Circo Volador”.

mARTadero | Arte y Cultura | Cochabamba Bolivia

noreply@blogger.com (karla) — Sun, 11 Mar 2012 20:41:00 PDT

Residencia prAna de Karla Kracht en mARTadero
mARTadero | Arte y Cultura | Cochabamba Bolivia

Jean Giraud (Moebius) 1938-2012

noreply@blogger.com (karla) — Sun, 11 Mar 2012 20:24:00 PDT

Jean Giraud (Moebius) 1938-2012:

I spent some time trying to select the right images for this post. I found the top one particularly appropriate; if there’s any artist that I associate with magic coming to life from the pages of a book, it’s French comics artist, illustrator and movie concept artist Jean Giraud, more commonly known by his pen name, Moebius.
I was saddened to learn that Giraud died today, March 10, 2012, at the age of 73.
Of all of the fantastic artists and illustrators who have worked in the medium of comics, from the Golden Age newspaper greats to the present era of “graphic novels”, Giraud is my favorite. He is also one of my favorite illustrators, and for that matter, one of my favorite artists of any kind.
I’ve often said that he demonstrated more imagination and creativity in a few of his offhand sketches than many professional comics artists and illustrators will display in their entire careers.
Prolific, inventive and restlessly experimenting with variations of style while following his own individual path of artistic exploration, Giraud left us with a wealth of extraordinary images, from the outrageous to the sublime.
Unfortunately, he isn’t as well known here in the US as he should be, partly because he didn’t (with a few exceptions) draw spandex-clad superheroes or saucer-eyed manga girls, and partly because the publishers here didn’t quite know what to make of him.
Admittedly, his own writing style, which at best could be called “stream of consciousness”, didn’t lend itself to coherent stories as much as flights of wild visual fantasy. He worked best as a storyteller when he put his brilliance in the service of more straightforward writers, notably collaborating with filmmaker and author Alexandro Jordorowski on a long science fiction series called The Incal.
As much as I admire his fantastically imaginative science fiction illustrations and comics (for which he adopted the name “Moebius” and made well known contributions to the original Metal Hurlant anthologies in France), I actually think Giraud’s best comics work was his most restrained, in the service of the superb western series Blueberry, set in the post-Civil War American west and written for most of its run by Jean-Michel Charlier.
Giraud lent his imagination and artistic and character design skills to a number of well known films, including Alien, Tron, Willow, The Abyss and The Fifth Element.
Giraud’s impact on other comics artists, illustrators and concept artists can’t be overstated. Even if not a household name to the American comics reading public, his impact was widespread among the artist community.
In France and Belgium, and the rest of Europe for that matter, he is much better known. France named him a “national treasure” and his work was recently the subject of a major exhibition at the Foundation Cartier Pour L’Art Contemporain in Paris (also here).
Unfortunately, Americans who want to purchase books of his work are at a disadvantage. Though Marvel Comics published a good series showcasing his work in various areas (including a nice run of Blueberry) in the 1980′s, and their Epic imprint followed with a nice hardbound series of art books in the 90′s, and Dark Horse Comics published a nice series of black and white titles in the 90′s (though in an inexplicably small format), these are out of print and in many cases unreasonably priced from used book sources.
Here are reviews of some of the titles available on Amazon. American readers might try to order through an importer like Stuart Ng Books, where a few Moebius volumes can be ordered for reasonable prices.
The official Moebius website, though worth a browse, unfortunately does not do a very good job of showcasing his art.
The best source I’ve found for his work on the web is an unofficial Tumblr blog called Quenched Consciousness, that has posted numerous files in a wide variety of his work. It’s not particularly organized, as explained here, but wonderful to look through nonetheless. (Frankly I’m surprised it’s still up. My advice is to enjoy while you can.)
There are also smaller galleries on Contours, Comic Art Community and Comic Art Fans (also search).
[Note: some of the images to be found on these sites, and perhaps in other sources of Moebius images, are distinctly NSFW and not suitable for children.]
Another way to get a glimpse of his work is to simply do a Google image search for Moebius or Jean Giraud.
There is a three part BBC documentary on him on DailyMotion (part two and three), and a 1987 interview in The Comics Journal.
I had the pleasure of meeting Giraud at the Philadelphia Science Fiction Convention in 1991. He was a delightful, soft-spoken and modest gentleman (in the best sense of that word), and was generous enough to do a wonderful convention sketch for my wife (above, second from bottom).
I also had the pleasure at the time of looking through a small sketchbook that he carried with him. He used it, along with pen and a portable watercolor kit, used to do beautiful color drawings of scenes he encountered on his travels.
I think what impressed me most about that meeting, in which he was doing numerous (free) sketches for those who asked, was the almost casual way he seemed to draw, as though he had simply connected his unconscious mind to his drawing hand and turned off everything in between.
My long time fascination with his work bears out the overall impression I have of Giraud, that he was (similar to my assessment of Rembrandt) someone who drew and painted as naturally as most of us breathe.

Bill Viola: risorse in rete

noreply@blogger.com (karla) — Mon, 13 Feb 2012 15:22:00 PST

Bill Viola: risorse in rete:

BIOGRAFIA

http://www.mediaartnet.org/artist/viola/biography/

The reflecting pool

www.youtube.com/watch?v=D_urrt8X0l8

Ancient days (1976)

www.youtube.com/watch?v=Szc8dWQf3zc

From I do not know what i am like

www.youtube.com/watch?v=jhv6dDRL-RI

Déserts (musica Edgar Varèse), 1994

www.youtube.com/watch?v=kUTDithW1jw

(part 1)

Scheda di The greeting” (1995)

http://www.mediaartnet.org/works/the-greeting/

from The greeting

www.youtube.com/watch?v=Dg0IyGUVXaQ

Il Quintetto “stupito”

(The quintet of the astonished, 2000 )

www.youtube.com/watch?v=MR9av-I35ME

Silent Mountain (2001)

www.youtube.com/watch?v=IEVZ1gN4fB8

Observance (2002)

www.youtube.com/watch?v=aiz19J-wVnE

Emergence

www.youtube.com/watch?v=ys2s4FGxtDw

The making of Emergence (2003)

www.youtube.com/watch?v=hx5Cu7U-Fkg

Transfiguration 2007

www.youtube.com/watch?v=9_KaQ7aOoso

Wikipedias Lists of Lists of Lists lists itself as a List of Lists

noreply@blogger.com (karla) — Wed, 01 Feb 2012 16:26:00 PST

Wikipedias Lists of Lists of Lists lists itself as a List of Lists:

Wikipedia hat eine Liste mit Listen voller Listen, darin verlinkt sie sich selbst als eine Liste mit Listen. Dazu kann man wahrscheinlich wunderbar meditieren, oder sowas. Acid würde ich eher vermeiden, Horrortrips voller rekursiver Listenlisten inklusive Gehirnlöschdiskussion wären vorprogrammiert.

Wikipedia’s innumerable lists is already the stuff of legends. And yet still amidst the back alleys, we hear whispers of lists of lists — strange, higher planes of existence which float above everything. But it has transpired that there is still another level; a greater plateau of enlightenment. Friends, believe me when I say that Wikipedia has a List of Lists of Lists. And, most beautifully, it not only links to a list of lists, but also to itself. This, dear readers, is the information singularity. Wikipedia has attained nirvana.

Wikipedia has a List of Lists of Lists, Which Lists Itself and a Separate List of Lists

Wo stürzt die Mars-Sonde ab?

noreply@blogger.com (karla) — Sun, 15 Jan 2012 01:51:00 PST

from http://tagesschau.de/ausland/phobos112.html

Ungewolltes Ende von "Phobos-Grunt"

Wo stürzt die Mars-Sonde ab?

Die havarierte russische Marssonde "Phobos-Grunt" wird aller Voraussicht nach heute auf die Erde stürzen. Die genaue Absturzzeit und der Absturzort der außer Kontrolle geratenen Sonde konnten die Experten bislang nicht exakt bestimmen.

Modell der russischen Marssonde Phobos-Grunt (Quelle: NASA/ESA)Die Raumfahrtagentur Roskosmos teilte mit, dass die 13,5 Tonnen schwere Sonde zwischen 15.36 Uhr und 23.24 Uhr deutscher Zeit in die dichten Schichten der Atmosphäre eintreten werde. Der hochgiftige Treibstoff werde dabei bereits verbrennen. Lediglich etwa 20 bis 30 Teile mit einem Gesamtgewicht von höchstens 200 Kilogramm würden den Eintritt in die Atmosphäre überstehen. Den Experten zufolge werden die Reste voraussichtlich vor der chilenischen Küste in den Pazifik stürzen. Der wahrscheinliche Zeitpunkt wurde mit 18.51 Uhr MEZ angegeben.

Derzeit umkreise der Havarist die Erde auf einer Umlaufbahn zwischen 167,1 und 144,6 Kilometern Höhe. Stunde um Stunde nähert er sich unserem Planeten. Der am "Phobos-Grunt"-Projekt beteiligte Forscher Wladimir Sytschjow sagte, an Bord des Flugkörpers befänden sich auch Mikroorganismen und Fruchtfliegen. "Sie befinden sich in hermetisch abgeschlossenen Titankapseln und stellen keine Bedrohung für die Bevölkerung dar - falls sie den Absturz überhaupt überstehen", sagte der Wissenschaftler vom Institut für Biomedizinische Probleme (IMBP).

9. November - ein Start voller Hoffnungen

Russland hatte die umgerechnet 127 Millionen Euro teure Sonde Anfang November mit einer Zenit-Rakete vom Weltraumbahnhof Baikonur in Kasachstan gestartet. Sie sollte auf Phobos, dem größten Marsmond, Bodenproben sammeln und diese bis 2014 zur Erde bringen. Doch wenige Stunden nach dem Start gab es technische Probleme, so dass die Sonde den entscheidenden Austritt aus der Erdumlaufbahn nicht schaffte.

Eine Zenit-Rakete befördert die Mars-Sonde "Phobos-Grunt" ins Weltall.

Lukas Brezak Illustrations

noreply@blogger.com (karla) — Thu, 05 Jan 2012 02:56:00 PST

Lukas Brezak Illustrations:

Découverte des superbes illustrations de Lukas Brezak disposant d’une ambiance unique et assez étrange. Avec des dessins de qualité et des choix graphiques très intéressants, voici une sélection de ses travaux qui sont à découvrir en grand format dans la suite de l’article.

Previously on Fubiz

Adahy

Paper Cutting

Yuta Onoda

isfth 6th edition

noreply@blogger.com (karla) — Sun, 18 Dec 2011 08:21:00 PST

isfth 6th edition: Streaming Festival 6th edition from 1 to 18 December 2011.

The Streaming Festival is a non-profit project created to encourage the understanding of audio-visual art. Naturally, the artists’ viewpoints differ from one another, whether in their subjects or in the way they created their work.

This edition aims to show a sample of that diverse contemporary videoculture while stressing the all-time significance of artistic development.
In addition to the many videos on display, this edition premières a whole new direction with the Sound and 2D programs.

View, listen and read here the concluding days of this 6th edition: http://www.streamingfestival.com

The Streaming Festival 6th edition is organized by the isfth foundation, with the participation from VisualContainer, The [.BOX] and IntergalacticFM.

http://www.visualcontainer.org
http://www.dotbox.it
https://intergalactic.fm

isfth 6th edition

noreply@blogger.com (karla) — Sun, 18 Dec 2011 08:21:00 PST

Private Moon

noreply@blogger.com (karla) — Mon, 12 Dec 2011 13:01:00 PST

Private Moon:

Découverte du travail de Leonid Tishkov, un photographe russe vivant actuellement à Moscou. Depuis plusieurs années, ce dernier prend des clichés de lunes au centre de multiples décors sombres. Un rendu très réussi avec une sélection de visuels à découvrir dans la suite de l’article.

Previously on Fubiz

Fashion Series by Bharat Sikka

Hydro Power Project

Alter Ego Series

Dice Sculptures

noreply@blogger.com (karla) — Mon, 05 Dec 2011 00:48:00 PST

Dice Sculptures:

Découvertes des sculptures de l’artiste britannique Tony Cragg, exposé durant la FIAC 2011 à Paris. Une utilisation originale avec ces formes composées de milliers de dés pour un rendu très impressionnant. A découvrir sur son portfolio et dans la suite de l’article.

Previously on Fubiz

Paper Elegies

Man-Tsun Illustrations

Wire Portraits

Polish Cold War Neon

noreply@blogger.com (karla) — Fri, 25 Nov 2011 04:31:00 PST

Polish Cold War Neon:

Photographer Ilona Karwinska 's new book Polish Cold War Neon (Mark Batty Publisher, £35) gathers together photographs taken over more than five years all over Poland, documenting what remains of a once extravagant plan to neonize the entire country during the 1960s, 70s and 80s...

The book features an excellent introduction by David Crowley who, regular readers may recall, wrote a feature on Karwinska's neon photography project for our September 2007 issue (we've unlocked it for a few days only so non subscribers can read that piece here). Here's an extract from the book's introduction:

"The neon signs installed in Polish cities in the 1960s and 1970s were part of the international attempts to reconcile socialism and consumerism. Conferences in Czechoslovakia in 1957 and in the Soviet Union in 1958 set out to define a new kind of progressive advertising that would raise the tastes of consumers and rationalise their needs. Neon was given a key role in this new program. Illuminated images and words could denote a useful commodity or service ('Save with PKO for your apartment' or 'Sewing Machines Here'). Permanent, fixed to buildings, and bespoke, neon was even claimed as a tool for navigating the rapidly changing city: a radiant 'You are here'."

There is much info about the design and manufacturing processes and even interviews with employees of some of Poland's biggest neon manufacturers during the 60s and 70s. And then there is the sumptuous, full bleed photography by Karwinska... Here are some images:

markbattypublisher.com

polishneon.com

CR in Print

Not getting Creative Review in print too? You're missing out.

In print, Creative Review carries far richer, more in-depth articles than we run here on the blog. This month, for example, we have nine pages on Saul Bass, plus pieces on advertising art buyers, Haddon Sundblom, the illustrator who ensured that Coke will forever be linked with Santa Claus, Postmodernism, Brighton's new football ground and much more. Plus, it's our Photography Annual, which means an additional 85 pages of great images, making our November issue almost 200-pages long, the biggest issue of CR for 5 years.

If you would like to buy this issue and are based in the UK, you can search for your nearest stockist here. Based outside the UK? Simply call +44(0)207 292 3703 to find your nearest stockist. Better yet, subscribe to CR for a year here and save yourself almost 30% on the printed magazine.

Referencias para usar en animación

noreply@blogger.com (karla) — Fri, 25 Nov 2011 04:26:00 PST

Referencias para usar en animación:

Este post ha sido publicado por Sam a las 3:38:00 PM en animaholic

Hay veces en las que un animador daría cualquier cosa por tener una referencia en movimiento de tal o cual gesto o de algún animal en particular y los libros existentes, como el famoso de Muybridge, son incompletos o no abarcan lo que el animador necesita. En ese caso, los siguientes enlaces con centenares de vídeos gratuitos para usar como referencia en animación pueden ser realmente útiles:
Reference! Reference! es una web enorme con una gran cantidad de vídeos clasificados por temas. Los vídeos han sido creados específicamente para animación y permiten verse desde diferentes perspectivas.
AniRef es un canal de Vimeo que va recopilando vídeos de otros usuarios con vistas a su utilización en una animación. La contrapartida es, por tanto, que los vídeos no han sido realizados pensando en ser usados para animación, pero es una buena fuente también.
Muchas gracias Animaholic

Notes on Everything is a Remix, Part 1, 2, and 3

noreply@blogger.com (karla) — Wed, 23 Nov 2011 02:40:00 PST

Notes on Everything is a Remix, Part 1, 2, and 3:

Everything is a Remix Part 1 from Kirby Ferguson on Vimeo.

Everything is a Remix is a four part web-film series directed and produced by Kirby Ferguson. It has been about a year since the first segment (above) was released. Since then, Ferguson has released parts two and three. The fourth and final installment is scheduled to be released this Fall of 2011, and I look forward to viewing it.

When I viewed part one, I really liked it, and thought that the title, while it may sound polemical to some degree (in a tongue-in-cheek sort of way), somewhat falls along the lines of how I view and have been discussing Remix as a form of discourse during the past few years. However, once I viewed the other two segments, I realized that the way some of the material is presented begins to water down the very foundation of the term “remix.”

For this reason, while I do like very much Ferguson’s series, and often share it as a reference with anyone who wants to get a sense of Remix as a form of discourse, I find the need to write down some of the issues that may be overseen in Ferguson’s series.

This oversight perhaps may be in part because short films cannot possibly cover in-depth analysis as a series of texts or a book would. On the other hand, it may be inevitably tempting to make an ever-expanding megamix about culture and media with a generalization that one cannot fully embrace (though in the spirit of remixing can truly like and admire). With both of these possibilities in mind, I briefly share my views on this series.

Everything is a Remix Part 2 from Kirby Ferguson on Vimeo.

The main issue about remixes that comes up, even in the first video, is that there is no explanation of the relation between material sampling and cultural citation. as I previously explained in Regressive and Reflexive Mashups, there is a difference between a Medley and a Megamix: the former is played by a band, while the latter is composed in the studio usually by a DJ producer, who understands how to manipulate breaks on the turntables.

What this means is that a remix in the strict sense of its foundational definition has to be materially grounded on a citation that can be quantified, in other words, measured. This is one of the reasons why DJ producers quickly ran into trouble with copyright law: a lawyer could play a sample from a Hip Hop song, in direct juxtaposition with the originating source of the sample and make evident on purely material grounds that the sample was an act of plagiarism.

But this is not exactly what happened with Led Zeppelin. What happened with Zeppelin, as the example given in Ferguson’s first segment, was straight forward plagiarism within the tradition of covers and knock-offs. Two terms that are also mentioned in the first segment as forms of “legal remixes.” What these forms of recycling content do share with remixes is intertextual citation–the embedding of ideas by way of direct or even indirect reference, which often is not materially grounded, but rather made possible through well calculated emulation.

Everything is a Remix Part 3 from Kirby Ferguson on Vimeo.

The best example of intertextual citation in the postmodern sense would be Quentin Tarantino’s films, which are also mentioned at the end of the credits of part two. Tarantino does not sample directly from the films he references in his own work, but rather recreates the scenes or shots to develop his own narratives. This allows him to claim autonomy of the material, much in the way that Zeppelin (in my view unfairly) can still keep their credibility, perhaps on the ground of reproducing material in a unique way that is their own–even if they failed to cite the sources from which they blatantly stole.

In other words, because, both, Tarantino and Zeppelin don’t materially take, but rather emulate with great precision, their productions are not a remixes by definition, but rather informed by principles of Remix as a form of discourse. Their actions are cultural citations. These details are missed, unfortunately, in the first three parts of the series by Ferguson.

Now, as it is already obvious above, I do extend the concept of remix as Remix (with a capital “R”) to pretty much all the areas of culture that Ferguson mentions in his series, including the Apple computer. But when I do this, it is to emphasize that we are functioning under a paradigm ruled by acts of material appropriation and recyclability.

The attitude of remix made possible with the technology first introduced earlier in photo-collage and tape loops and eventually music samplers, has now become an attitude, an aesthetic that informs the way cultural material is produced. But this does not mean that “everything is a remix.” This may appear to be so, but as much as I myself would like this to be the case, it is not. What one could say is that “everything is intertextual,” which is closer to the tradition of sharing ideas in conceptual and material form, prior to the time of modernism. Historically all the material covered by Ferguson is certainly relevant in terms of recyclability, but it does not validate the catch-all statement “everything is a remix.”

Understandably, “everything is intertextual” (which could also be contested if one gets really picky) is not as catchy as “everything is a remix.” To go viral, one must use what is in vogue and quickly understood. Intertextuality had its time in the postmodern period. Now, it appears that remix is the catch all phrase.

And why is it important to point out such nuances that in the end a person enjoying Ferguson’s short films may find too nit-picky? Because if we actually take the time to differentiate the referencing of ideas in conceptual and material form (ideas, and actual products reused) then copyright law may actually be changed. If we keep referencing intellectual production in general fashion as Ferguson’s work unfortunately does, we will not be able to change laws on intellectual property. It is for this reason, only, why I write this entry, because I find that the film series could benefit from understanding the important differences between material samplings and cultural citations.

I should add a note to explain that my concern here is not academic by any means, even though I make a living by working with research institutions. I have been invested in remix culture long before the very term was coined. Before investing myself professionally as a media researcher and artist, I was a DJ for over fifteen years. And for this reason, as much as I would like everything to be a remix, I have to admit that this is not the case. To be blunt, from the point of view of cultural critics who are wary of hegemony, “Everything is a Remix” can be understood as a flip-on-the-script of diversity, paradoxically, to become a totalitarian statement–that anyone who is invested in difference is compelled to resist. I say this understanding that Ferguson probably does not mean it this way, which is why I do share his work as much as I can. Kudos to Ferguson.

The Language of Colors

noreply@blogger.com (karla) — Wed, 23 Nov 2011 02:40:00 PST

The Language of Colors:

Ich habe grade den (recht kurzen und bequem weghörbaren) Podcast von Detector.FM angehört, der der Frage nachgeht, warum manche Sprachen mehr oder weniger Worte für Farben haben, als andere.

Es gibt Sprachen, wie das Japanische, die nicht einmal zwischen blau und grün unterscheiden oder das Walisische, das ein eigenes Wort für die Farbe von Meer, Gras oder Silber verwendet. Aber auch das umgekehrte Phänomen ist bekannt: so unterscheidet zum Beispiel das Spanische strikt zwischen “celeste” (hellblau) und “azul” (blau).

Wenn man sich ein wenig in den Sprachen der Welt umhört, wird einem schnell klar, dass Farben oft ganz unterschiedlich bezeichnet werden. Aber auch die Anzahl der Grundfarbwörter, zum Beispiel rot oder gelb, variiert von Sprache zu Sprache. Warum das so ist, möchten wir gerne wissen und stellen deshalb die ungelöste Frage des Monats: “Warum unterscheiden manche Sprachen nicht zwischen blau und grün?”.

Warum unterscheiden manche Sprachen nicht zwischen blau und grün?, hier das MP3 (via Swen)

Book review - Media, New Media, Postmedia

noreply@blogger.com (karla) — Wed, 23 Nov 2011 02:39:00 PST

Book review - Media, New Media, Postmedia:

New Media, Postmedia is not just an attempt to explain the current status of the artistic research with new technologies, but also a militant endeavor to help it get the critical consideration it deserves; it's not just a description of the present, but also an attempt to change the future, suggesting new critical and curatorial strategies continue

Ron Arad's Curtain Call

noreply@blogger.com (karla) — Wed, 23 Nov 2011 02:39:00 PST

Ron Arad's Curtain Call:

Ron Arad's Curtain Call uses 5,600 silicon rods to create a 360 degree projection screen in London's Roundhouse venue. Arad has invited some of his favourite artists to create work for the piece

Arad created the piece as part of the Bloomberg Summer at the Roundhouse season of events. The installation encloses an 18-metre in diameter space - visitors sit in the middle to enjoy a daily reel of works by a roster including animator/designer Javier Mariscal,

fashion designer Hussein Chalayan

Greenaway & Greenaway, whose piece references the Roundhouse's architecture

and Gabriel and Shira Klasmer, whose abstract graphics are among the more effective pieces.

My favourite and yes I'm aware that he divides opinion on this blog, is David Shrigley's Walker in which a hairy, booted figure stomps miserably around the room, pausing briefly to let out a heartrending moan, before renewing his never-ending journey.

There will also be a variety of special events in the space. Curtain Call is on until August 29. More info here. Arad's studio blog on the project is here

HTML5 VJing Tool

noreply@blogger.com (karla) — Wed, 23 Nov 2011 02:39:00 PST

HTML5 VJing Tool:

Con la llegada de HTML5, la web va a ser realmente más interesante para la experiencia del video en vivo online.

HTML5 VJing Tool es una herramienta desarrollada en Javascript, CSS 3 y es compatible con arrastre de vídeo, imagen y texto.

Esta aplicacion todavia esta en fase beta pero se puede probar y experimentar con ella.

+ info https://developer.mozilla.org/media/uploads/demos/s/p/spite/dc461502a5dfbfa8585c27aa5a0a9804/html5-vjing-tool_1312317583_demo_package/index.html

Taller audio embedido con Arduino/Waveshield [17-18/12, Barcelona]

noreply@blogger.com (karla) — Wed, 23 Nov 2011 02:11:00 PST

Taller audio embedido con Arduino/Waveshield [17-18/12, Barcelona]:

WaveShield de LadyAda es un accesorio para Arduino que reproduce sonidos en formato WAV a 22 kHz y 12 bits a partir de un lector de tarjetas SD integrado, permitiendo interactuar a partir de sensores y sincronizar sonido con cualquier señal electrónica.

En el taller se armará WaveShield completamente desde cero y se realizarán distintos ejercicios con sensores con el fin de conocer el potencial del dispositivo y estimular la creación de nuevos proyectos.

El objetivo del taller es transmitir el conocimiento necesario para poder añadir de una manera sencilla y barata sonido a cualquier proyecto electrónico, repasar conceptos fundamentales de Arduino y ofrecer una herramienta flexible y opensource para generación de sonido.

El profesor es Alex Posada, creador digital e investigador en el campo de la interactividad y los nuevos medios.

Más información en la web de symbolab