Posted on | November 27, 2014 | No Comments
From a 100 days broadcast on the Landesgartenschau Gießen, datscharadio brought back an archive with audiofiles in a state of digital decomposition. the show takes three different depositories of audio material and traverses them to present an impossible algorithmic summary, a auto-montage of an already diverse ethnopoetic collection of todays garden cultures in an average mid size town in Germany. By Pit Schultz (with Gabi Schaffner) for reboot.fm
Posted on | November 24, 2014 | No Comments
This fact, the surfacing of structure in an undeliberate action, is too big to take on here, but it was enough to convince me that the structuralists—the advocates of planning music before you hear or care what the plan gives you—were right: do not rely on unplanned music; it comes out as though it were planned, but planned by someone you cross the street to avoid.
Posted on | November 20, 2014 | No Comments
Three master students of RITS radio department (Lucas Derycke, Cara Cobaert & Maarten Coosemans) capture a space in the city through audio recordings. Afterwards they edit these field recordings (without artificial effects) in order to try and grasp the specific sonosphere of that location. The students were assisted by Guy de Bièvre (http://www.guydebievre.org/).
Posted on | November 17, 2014 | No Comments
ZID 2.0 heka četrti »problem povečanja človeške energije«: Jezik. Komunikacijo. Informacijo. Digitalni kod in medije skozi katere se prenaša. Sporočilo. Data. Jezik. Keš. Zavest.
Nastopajo: Aaron Swartz, Friedrich Nietzsche, Jacques Ranciere, Marshall Mcluhan,Mitar Milutinovič, Miklavž Komelj, Monika Vrečar, Tibor Hrs Pandur, Uroš Prah,Roland Barthes, Saul Williams etc …
Posted on | November 13, 2014 | No Comments
After Artefakt is a regular radio art show by Bojan Anđelković at Radio Student, Ljubljana. The show is exploring autonomous radio language in the reality of hybrid media, dealing with different media and languages, logic of sense of the words and sounds, repetition and difference. For the sound matrix this time we take experimental film of Niko Novak – IDIOT, on the eponymous novel by F.M. Dostoyevsky.
It happened in Switzerland. The first year of his therapy. At that time he was pretty much an idiot; hecould not even speak properly. One sunny morning, he climbed up a mountain..
Bojan Anđelković is an artist, philosopher and media theorist, ex-chief editor of Radio Student, and coordinator of RADAR – Open Radio Investigative Platform of Radio Student.
VOICES: ENG: Niko Novak; SLO: Polona Torkar; SER: Bojan Anđelković; RUS: Fiškin’s mother
MUSIC: Ludwig van Beethoven, »Für Elise« / Niko Novak; The Machine, »Continental Drift« / Ciniša; Ben Frost, »Leo Needs A New Pair of Shoes« / Ciniša
Posted on | November 10, 2014 | No Comments
Bojan Anđelković, ki pravkar končuje doktorat o gledališki umetnosti Dragana Živadinova, se je več kot tri ure pogovarjal s ‘sobjektom’ svoje raziskave. Vse kar ste hoteli vedeti o Živadinovu in projektu Noordung 1995-2045, pa se niste upali vprašati!
Posted on | November 3, 2014 | No Comments
Tokrat se odpravljamo na tečaj preživetja – v naravi, v temi, prisoten bo tudi strah. Ali bova skupaj s snemalko premagala najine strahove?
*Konrad L. = Konrad Lorenz
*Križevci = Križančija (čeprav sem hodil v nasprotno smer od nje)
*Podravski kajkavski dijalekt
Posted on | October 27, 2014 | No Comments
Matter and Memory (French: Matière et mémoire) (1896) is one of the four main works by the French philosopher Henri Bergson (1859–1941). Its subtitle is “Essay on the relation of body and spirit”, and the work presents an analysis of the classical philosophical problems concerning this relation. Within that frame the analysis of memory serves the purpose of clarifying the problem. Matter and Memory was written in reaction to the book The Maladies of Memory by Théodule Ribot, which appeared in 1881. Ribot claimed that the findings of brain science proved that memory is lodged within a particular part of the nervous system; localized within the brain and thus being of a material nature. Bergson was opposed to this reduction of spirit to matter. Defending a clear anti-reductionist position, he considered memory to be of a deeply spiritual nature; the brain serving the need of orienting present action by inserting relevant memories. The brain thus being of a practical nature. Certain lesions tend to perturb this practical function, but without erasing memory as such. The memories are, instead, simply not ‘incarnated’, and cannot serve their purpose.
Posted on | October 13, 2014 | No Comments
Letošnji festival Speculum Artium v organizaciji Delavskega doma Trbovlje – Trbovlje Novomedijsko Mesto je pod naslovom Obrisi prihodnosti predstavil mednarodni izbor tehnoloških in umetniških projektov, ki v sedanjosti napovedujejo bodočnost. Poleg ogleda glavne atrakcije festivala – Hondinega humanoidnega robota ASIMA – ki je v Trbovlje pripeljala več kot 5000 obiskovalcev, nam je dogajanje ponudilo prostor za premišljevanje pomembnih vprašanj uporabe robotike in ostalih tehnoloških dosežkov sodobnosti. Postali smo hi-tech – skoraj nevzdržno nam je živeti v sedanjosti; čeprav drvimo naprej v fluidnosti časa in prostora, si želimo zdrveti še hitreje, da bi videli, kaj nas čaka in kakšen bo človek v prihodnosti.
O prihodnosti, reševanju sveta, novi renesansi in etiki smo se pogovarjali z avstralskim umetnikom Stelarcom, ekipo humanoidnega robota ASIMA iz Honde Robotics in japonsko novomedijsko skupino ARART.
Posted on | October 6, 2014 | No Comments
Slika: (Naključne, a tudi nezamišljene) digitalne konverzije z različnimi orodji na primeru Rembrandtovega* Der Mann mit dem Goldhelm.
* Despite the popularity of the ‘Man with the Golden Helmet‘, which was attributed to Rembrandt, there has been an increasing body of evidence casting doubt on its authorship since the 1960s. The picture was restored in the 1980s, and subjected to a thorough technical examination, which supported the reservations that had been expressed in terms of style.
The helmet with ist thickly applied paint and sharply reflected light particularly show how Rembrandt’s expressive devices have been exaggerated. The dark, almost graphic presentation of the face is also not compatible with Rembrandt’s signature style.
The technical and stylistic differences are revealed very clearly in a comparison with Rembrandt’s painting ‘Man in Armour‘ in Glasgow. In terms of content ‘The Man with the Golden Helmet‘ could be interpreted as representing Mars, the god of war, as a magnificent shining helmet had long been seen as his attribute. This theme was often taken up by painter’s in Rembrandt’s circle. The self-absorbed expression on the subject’s face has also been linked with the motif of the sleeping Mars, symbolizing silent weapons, and thus peace. (Text: © Prestel Verlag / Claudia Banz)keep looking »