Andujar Archive

404 Object Not Found Seoul 2007

404 Object Not Found_Seoul

‘404 Object Not Found_Seoul2006’(이하 404 프로젝트_서울2006)은 404 Object Not Found(이하 ‘404 프로젝트’)의 디렉터인 한스 D. 크리스트와 이리스 드레슬러의 동의 하에, 토탈미술관이 주관하고, 문형민, 양아치, 신보슬이 한국측 공동 디렉터로 참여했습니다. ‘404 프로젝트_서울2006’은 ‘404 프로젝트’ 주제의 중요성을 인식하고, 2003년 독일에서의 ‘404 프로젝트’의 성과들을 바탕으로 한국의 미디어아트 상황에 대한 본격적으로 진단해 나가고자 기획되었습니다. 토탈미술관, 아트센터 나비, 루프 이렇게 3개의 기관들이 참여했던 ‘404 프로젝트_서울2006’은 크게 리서치 프로젝트, 전시, 심포지엄으로 구성되었습니다. 특히 일년 가까지 진행해온 리서치 프로젝트는 국내 미디어아트 전문가들을 직접 방문하여 우리나라 미디어아트의 현황 및 과제 등에 대해서 직접 인터뷰하였으며, 2003년 독일에서 이루어졌던 ‘404 프로젝트’를 번역하는 성과를 올리기도 하였습니다. 전시 및 심포지엄을 위해 404 프로젝트를 만든 한스 D. 크리스트, 세계적인 미디어아트 큐레이터 마크 트라이브(Mark Tribe), 스페인의 미디어아티스트인 다니엘 가르시아 안두하르(Daniel Garcia Andujar), 스위스 미디어아티스트 마크 리(Marc Lee) 가 참가하여, 논의의 깊이를 더해주었습니다. 특히 기존의 워크숍과 리서치 성과물을 전시를 통해 보여줌으로써, 워크숍과 심포지엄, 리서치 프로젝트 그리고 전시를 유기적으로 연동시키는 새로운 방식을 시도하여 좋은 반응을 얻었습니다. 이상의 모든 담론과 성과물들이 탁상공론에 머무는 것이 아니라, 향후 현실적인 발전의 토대로 삼아 실행 단계에 까지 이어져야 한다는 의미에서, 스페인의 대표적인 아티스트인 문타다스(Muntadas)의 “Warning: Perception requires Involvement”를 한글로 번역한 텍스트로 전시를 시작함으로써, 404 프로젝트가 일회적인 행사로 논의의 수준에 머무르는 것이 아니라, 실질적인 실천/행동의 단계에 까지 나아가야 함을 시사하여 관객들에게 깊은 인상을 남겼다는 평을 받기도 하였습니다.

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{press} 404 project Seoul 2007

International Symposium and Workshop

regarding data/media art preservation, presentation and archiving

“404 Object Not Found_ Seoul2007”

October 22 – 26 2007 @ Total Museum of Contemporary Art

“In memory of the heroic boys and girls that worked deep into the night for all those months, in those small and hot offices at CERN, Rom 404 is preserved as a ‘place on the web.’ None of the other rooms are still used for the Web. Room 404 is the only and true monument to the beginning of the Web, a tribute to a place in the past, where the future was shaped.”
Copyright © 1997-2003 Room 404. All rights reserved.

When internet is introduced to daily life, people excited about this totally different world form our physical space. It makes blur the geographical distance and time zone. When people access to the internet, they will see limitless-like space. Just like this, web is considered as the space which is very of the secured, the safe and most of all, the free. Even it seems to be very much equal space for everybody. However, unlikely our expectation, Web is the still very fragile and tentative space. Unfortunately people do not take this as the serious issue.

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The Database Imaginary: Memory_Archive_Database v 4.0

Steve Dietz
in Database Aesthetics
edited by Victoria Vesna
2007

In 1968, in a report to the Rockefeller Foundation during a residency at SUNY Stony Brook, Nam June Paik argued that 97 percent of all electronic music was not recorded and that “a simple measure would solve the whole problem. An information center for unpublished electronic media should be created.”1 At the time, this meant such a center would “provide a Xerox copy and a tape copy of musical pieces, at the request of performers, students, and organizers from all over the world.” Convert analog to digital, and the dream lives on, perhaps more vibrant than ever, of a universal database archive, with access to everything by anyone anywhere at any time.

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Bulimia tehnologica

cotdianul.ro
19 Iul 2007 Miron Ghiu

Sau despre cum esti inundat, chiar la tine acasa, de toate adaosurile tehnologice de care nu stiai ca o sa ai nevoie.

De ce calculatorul, telefonul mobil, iPod-ul sau orice alta trusa foarte inteligenta isi doresc, din proprie initiativa, sa incarce si sa iti descarce pe cap noutati. Toate acele add-on-uri care iti populeaza lista de programe. Si la care daca te uiti cu atentie scrie: folosit foarte rar!

Daca intri pe net cu cele mai lucioase browsere, mult mai performante decit clasicele Netscape sau IE, ai sa vezi cum noul iti bate in geam.

Fie ca e vorba de teme grafice sau de noi abilitati de prelucrare a informatiei, Mozilla/Firefox iti ofera, la virful degetelor, o gramada de install-uri lipicioase. De fiecare data cind dai restart ai sa vezi ca de fapt nu e destul ce ai avut pina acum. Tot timpul iti lipseste cite ceva: fie o bara de status care sa te anunte cum stai cu download-urile, fie extensii care sa-ti permita sa trimiti linkuri in contul de del.icio.us fara sa parasesti fereastra browser-ului. Iar daca esti un metablogger respectabil ai nevoie neaparat de ScribeFire – un editor integrat care te lasa sa postezi de cite ori salivezi la vreun www gasit la intimplare.

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sobremesa de onte foi moi boa desas

PERIFÉRICOS

A sobremesa de onte foi moi boa, desas que non se poden desaproveitar, e as gañas de ir ao curso tampouco eran moitas ou sexa que de novo cheguei tarde perdéndome esta vez a conferencia de Nilo Casares. Unha mágoa porque tiña unha especial curiosidade en ver a súa conferencia. Eu xa coñecía a este crítico a través da súa participación no foro HARTE-L, unha gran idea que ten como obxectivo o intercambio de información de carácter artístico a través da rede pero que últimamente conta con pouquiña actividade.

Cando entrei na sala, Juan Nieves, director do Espai d´Art Contemporani de Castelló, estaba explicando o funcionamento desta institución centrándose especialmente na intervención que Santiago Cirugeda realizara para este edificio envolvéndoo cunha prótese estilo “hi-tech” (o que non me quedou moi claro era se tiña algunha funcionalidade ou era simplemente unha acción estética de maquillaxe arquitectónica). Tamén falou de pasada dese terremoto urbanístico que é Marina D´Or: “Ahora todo el mundo habla de Marina d´Or, ya nadie habla de Oropesa”.

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Fri software på overfladen, bag skærmen og i et kulturelt kalejdoskop: X-Devian

[Essay] Jacob Lillemose fortæller i dette essay om Daniel Garcia Andújars installation X-Devian. The New Technologies To The People System og om baggrunden for dette værk
Af Jacob Lillemose
Foto: Århus Kunstbygning

Udstillingen X-Devian. The New Technologies To The People System blev vist i Århus Kunstbygning fra 12. maj til 10. juni 2007
www.aarhuskunstbygning.dk

 
Udstillingsbillede fra Århus Kunstbygning

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Free Software on the Surface, Behind the Screen and in a Cultural Kaleidoscope: X-Devian.

akb x-devianThe New Technologies To The People® System

By Jacob Lillemose

In 1999, when the art and technology festival Ars Electronica awarded The Golden Nica, first prize in the ”.net” category, to the programmer Linus Torvalds for his development of the Linux operating system, it was pointing in general to the relationship between free software and art, and more specifically to the affinity between free software and that part of contemporary art which is concerned with software’s constantly increasing influence on social, economic and political conditions. Like Linux, this part of contemporary art works against the proprietary software industry’s standardization, repression and rationalization of the software culture, and instead explores alternate possibilities for freeing the software culture through more open, expressive and speculative processes.
On a more indirect level, Ars Electronica’s choice of Linux also emphasized another relationship between free software and this contemporary art, i.e. the idea informing both that software is not just a question of programming, but of producing culture – of understanding and using technology as a means of engaging in a social context. According to the founder of the Free Software Foundation (FSF) Richard Stallman, free software is about ”practical material advantages” but also about ”what kind of society we want to live in, and what constitutes a good society”. 1 Stallman himself imagines an extremely collective and creative society founded on the freedom to ”use, study, copy, modify and redistribute software”. For him, the free software’s fundamental abolishment of intellectual property rights represents a chance to structurally and conceptually ”reprogram” society for the better, and this is an opinion he shares with much of contemporary art.

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The Aesthetic Interface

May 2007
9-11 May Conference
11-13 May Exhibition, Workshops
Locations: IT-Huset, IT-Parken, Aarhus Universitet & Aarhus Kunstbygning, Denmark

Information about Aarhus here.

Map of IT-Parken/IT-City here (the conference takes place in building 5510)

Conference poster

Advance programme (short version)

Advance programme (long version with abstracts and bios)

The interface is the primary cultural form of the digital age. Here the invisible technological dimensions of the computer are given form in order to meet human perception and agency. This encounter is enacted through aesthetic forms stemming not only from the functional domains and tools, but increasingly also from aesthetic traditions, the old media and from the new media aesthetics. This interplay takes place both in software interfaces, where aesthetic and cultural perspectives are gaining ground, in the digital arts and in our general technological culture – keywords range from experience oriented design and creative software to software studies, software art, new media, digital arts, techno culture and digital activism.

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La educación es un asunto estrictamente político

¿Quién habla de arte hoy?

Cuando nos planteamos organizar un debate en torno a la enseñanza del arte, queríamos recoger, por un lado, la “memoria educativa” de Arteleku, que a modo de “rolling stone” se nos presentaba “viva”, y por otro, abrir una discusión sobre la enseñanza del arte hoy (música, arquitectura…), a partir de las voces y los relatos de personas con experiencia en el campo educativo, reglado y no reglado, y que hubieran colaborado en Arteleku y/o Zehar.

Partiendo del análisis de las diferentes prácticas y experiencias educativas que conocíamos, y siendo conscientes de la importancia que la educación está adquiriendo en las sociedades contemporáneas, decidimos realizar una convocatoria y plantear una serie de cuestiones que nos ayudarían a conocer y difundir las ideas con las que los agentes implicados en la enseñanza del arte estaban trabajando:

1. ¿En qué medida han influido los cambios socio-económicos, políticos y tecnológicos de las últimas décadas en la enseñanza de las artes visuales?

2. Parece asumido que la audio-visualización de la sociedad ha provocado un giro en la enseñanza de las artes visuales y que los estudios culturales han sido durante estos últimos años la propuesta educativa más consensuada, pero ¿cómo podemos relacionar el aprendizaje teórico con el contexto en el que vivimos, con lo que algunos han denominado “la práctica situada”?

3. ¿Cómo organizas desde tu práctica educativa la producción de conocimiento y la experiencia compartida?

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