Nell Breyer’s choreography and video installations have been shown in the US, Canada, Europe, the UK and Bangladesh. Her work focuses on the intersection of dance, new media, and visual art. She was a Research Affiliate at MIT’s Center for Advanced Visual Studies and Program for Art, Culture & Technology (2002-2010); a Baryshnikov Art Center/Summer Stages Fellow (2008-9) and Dance Theater Workshop digital ARM Fellow (2003-4).

Dancers: Sarah Baumert, Sarah Witt, Theodossis Issaias, Kate Ladenheim, David Glista, Catherine Murcek, Mariah Steele.

i:move 2 from nellbreyer on Vimeo.

Hypo Chrysos is the second piece of a series of bio-interactive works based on the Xth Sense (XS), an open, biophysical and wearable technology I’ve recently developed. The work was composed ad hoc for the Matadac Festival in Madrid, which this year explores the theme of Machines and Flesh. In conjunction with this premiere, I’m teaching a workshop on biophysical generation and control of music and video using the Xth Sense tech.

Bivouac Projects acts as a transitory gallery, performance space, and screening series providing the community with an opportunity to see new media, experimental film and video works from local, national, and international artists. All types of video, film, and new media work will be accepted: experimental, documentary, animation, narrative, non-narrative, multimedia, bio art, digital imaging, locative media, net art, interactive media, sound art, etc.

Submissions: CD/DVD (NTSC). Include: Synopsis, Bio, CV and Contact Info.

SASE required for CD/DVD return.

Send email submissions to: frank [at] sumtergallery.org

Send mailed submissions to:
Frank McCauley, Curator
Bivouac Projects
PO Box 1316
Sumter, SC 29151

For info on earlier projects please visit:
http://www.sumtergallery.org/Bivouac_Projects.html

Social protest has become almost inseparably linked to a plethora of media images and messages distributed via internet, mobile phones, social media, internet video platforms and of course traditional media outlets such as newspapers, radio and television. A popular category to have emerged recently is the ‘twitter-revolution’. In almost all cases (Iran, Tunisia, Egypt, London) the role of the platform turned out to be less than essential in retrospect. Protests mostly manifested on the streets and particularly the public squares (’Take the Square’). Deeply rooted blogger-networks did however play a mayor role, preparing the protests that have now been dubbed the “Arabian Spring’. And internet played a crucial role in the organisation and co-ordination of the European ‘anti-austerity’ protests (Spain, Greece, UK, Italy).

This international seminar brought together theorists, artists, designers, activists and media specialists to develop a critical analysis of the new forms of social protest and their media dimension. The program divided into two blocks. The first block focused on an in-depth analysis of the evolving WikiLeaks-saga, while the second block examined the remarkable string of protests in the Mediterranean region. These discussions were interrupted at times by startling artistic interventions in current social and political debates.

Participants in the program:

Daniel van der Velden (Metahaven), Geert Lovink (Institute of Network Cultures, INC), Aalam Wassef (Ahmad Sherif), Omar Robert Hamilton (Mosireen / Tahrir Cinema, Cairo), Nat Muller (independent curator), David Garcia (Chelsea College), Jodi Dean (Hobart and William Smith Colleges / Blog Theory), X.net & Democracia Real Ya - (Barcelona), Gahlia Elsrakbi (Foundland), Nadia Plesner (Darfurnica), Florian Conradi and Michelle Christensen (stateless plug-in), Oscar Pretel (15 M .nl).

The seminar is part of an on-going research into Tactical Media, the fusion of art, media, politics and cultural activism, centred around the Tactical Media Files, an on-line documentation resource of Tactical Media practices world-wide.

The webcasts of the entire seminar are now available on-line at the Tactical Media Files website, fully annotated, including background information about the speakers and links to vital resources.

Links:

* Hans Ulrich Obrist in Conversation with Julian Assange (includes proposals for WikiLeaks corporate identity redesign by metahaven.net) www.e-flux.com/journal/view/232
* Geert Lovink & Patrice Riemens, Twelve Theses on WikiLeaks www.tacticalmediafiles.net/article.jsp?objectnumber=49391
* Tahrir Cinema: www.cinerevolutionnow.com/2011/07/tahrir-cinema.html
* Mosireen: http://mosireen.org
* Take the Square: http://takethesquare.net
* Democracia real Ya!: www.democraciarealya.es/manifiesto-comun/manifesto-english/
* Nadia Plesner - Darfurnica: www.nadiaplesner.com/Website/darfurnica.php
* stateless plug-in: http://statelessplugin.net

The program Urban Research, curated by Klaus W. Eisenlohr for Directors Lounge 2012, reaches beyond the genre “city films”. Contemporary artists are engaged in local politics, they are concerned with specific urban problems and developments, and they are directly interacting with the public with performances and public interventions. Due to rapid changes of urban environment, place is no more a reliable urban structure connected with consistency and collective memory. Place must be reinvented and newly defined over and over, and this does not only apply for spaces of temporary use. Public space in the sense of social interchange and interaction — as well as just a space free to use — is not a given opportunity any more, which can be taken for granted. International artists address these themes and issues with a variety of forms, experimental, documentary, abstract, and narrative; they intervene directly or they show there visions of public space, and a new urban landscape. For the festival presentation all screening media (besides 35mm projection) and art-related projects are welcome.

Urban Research 2012 will be first presented at Directors Lounge 9–19 February 2012. The program has also been presented internationally in screenings in London, Mannheim, Hannover, Poznan, Freiburg, Essen, Dordrecht, Senigallia, St. Petersburg and Berlin.

We want your work! Please use the online submission form (required!)

And please send your work including 2 video stills to Klaus W. Eisenlohr, Urban Research, Osnabrücker Str. 25, D-10589 Berlin, Germany; klaus [at] richfilm.de

Urban Research 2012 will first be presented at the media art festival Directors Lounge in February 2012.

This work was generously supported by the department of Systems Biology at Harvard Medical School, the LEF Foundation, Boston MA, the MacDowell Colony, and, of course, Emerson College.

You can already directly stream video using your laptop or mobile phone, and it is only a matter of time before the constant broadcasting of one’s life becomes as common as email. And this is no new phenomenon or theory. People have been sending comical fragments of their home movies to T.V. clip show You’ve Been Framed since 1990. Web 2.0 and particularly www.youtube.com have, since around 2005, taken over this process and removed the need for an editor and even a presenter. More recently clips uploaded to www.youtube.com have been removed and re-broadcast on British television on the show Rude Tube presented by Alex Zane much in the style of You’ve Been Framed from two decades earlier but rated by the number of online viewings they have received.

This confusion of presentation techniques within mass media over the past few decades has been facilitated by changing technology both in industry and within a domestic setting. Ryan Hughes is really interested in this confusion. We’ve been Re-Distributed is a work which adopts various forms to reflect these tendencies and extends them through other means of communication and presentation. The work uses randomly found, selected and edited video presented via VHS projection, various forms of print based material and mass communication via email.

This process of selection, context changing and re-presentation highlights how society consumes media, how this affects the meaning of media and how we understand ourselves through this. We are now all potentially producers. The “We’ve” mentioned in the works title reflects not just the re-distribution of the material in the work but how societies position as viewers and consumers of media have been changed through web 2.0 and the opportunities presented by it.

Today we are seeing new kinds of communication in which content, opinion, and conversation often cannot be clearly separated. Consider also online forums or the comments below website entries: the original posts may generate long discussions that go in new directions, with the first item long forgotten.

ARTicle is a new public gallery and project space, sited within the School of Art, Birmingham City University. ARTicle’s focus is to present invited art professionals who explore and critically engage with current curatorial debates and practices within wider Art production. ARTicle is ever aware of its context within the Art School educational environment and with that in mind will function as a discursive space that engages with and reflects on contemporary and historical Art practices. ARTicle will endeavour to negotiate and bridge the boundary between internal producers and production and interesting practices within the larger art world. Taking this into consideration, ARTicle will work with a variety of contributors on the local, national and international stage.

The space is directed by Mona Casey, artist-curator, in conjunction with the MA Contemporary Curatorial Practice post-graduate course at Birmingham City University.

This video is designed to be viewed in a large format, so it’s best viewed in full-screen mode at 1080p.

More information on the project site:
http://www.murphlab.com/ahots

And my recent blog post:
http://www.murphlab.com/2011/11/15/a-history-of-the-sky-for-one-year/

From tackling boring politicians to celebrating fishing trophies, a two month long project has given Lithuanian artists a much-needed boost in net-based art.

WebJs, a mix of eight weeks research, internet folklore and an endless stream of internet data, is the result of a residency programme in Nida Art Colony, supported by the Lithuanian Interdisciplinary Artist’s Association. Dirk Paesmans from the JODI.org collective (Dirk Paesmans & Joan Heemskerk) was joined by Lithuanian artists Darius Miksys, Irma Stanaityte, Andrius Kviliunas, Robertas Narkus, and Linas Ramanauskas.

“Lithuanian art hasn’t yet gained a strong presence on the internet, so this set of residencies has been organised for Lithuanian artists to work with the internet both as a tool and as source material,” said Mindaugas Gapsevicius, software artist and curator of the project. “I hope that the newly produced interactive art pieces will help local artistic practices to really raise their game.”

Over the course of the two month residency, Miksys explored hyperactivity without no hyperlinks, Stanaityte celebrated fishing trophies, Kviliunas was amazed by boring politicians on Youtube, while Narkus researched animated clichés and Ramanauskas considered delayed broadcasts.

The Lithuanian Interdisciplinary Artists’ Association (LTMKS) is Lithuania’s largest artist-run organisation in Lithuania, with more than 70 members. Established in 1998, it continues the activities of “Metastudija”, an artist-run-initiatve which began in 1994.

WebJs is supported by the Lithuanian Cultural foundation, the Vilnius Academy of Arts Nida Art Colony, the top Association supporting cultural practices and NeringaFM.lt, Nida’s popular online radio station.