Electrosmog festival

Concept

ElectroSmog is a new festival that revolves around the concept Sustainable Immobility. The festival will introduce and explore this concept in theory and practice. With Sustainable Immobility we refer to a critique of current systems of hyper mobility of people and products in travel and transport, and their ecological unsustainability.

The exploration of Sustainable Immobility is a quest for a more sustainable life style, which is less determined by speed and constant mobility. A lifestyle that celebrates stronger links to local cultures, while at the same time deepening our connections to others across any geographical divide, using new communication technologies instead of physical travel .

What we propose may sound a bit like a paradox: The proposition of the festival is that the unfolding crisis of mobility can only be effectively addressed by deepening our connections across geographical divides through new communication technologies. The festival wants to engage the fundamental promise of the information age that communication technologies can replace the need for physical mobility, and thus both contribute to ecological stability as well as a more rewarding both deep-local and translocal life-style. While this promise has existed since the dawn of the information age, it was never realised. New material realties, however, force us to critically re-examine these promises and seriously start to turn them into viable choices.

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Thematic discussions, presentations and connected debates

The ElectroSmog festival-program is organised around a series of interlocking thematic programs, connected discussions and debates all transmitted live over the internet. Themes covered by these events include:
• Global perspectives on hyper-mobility
• Witnessed Presence
• Hyper-mobility and the urban condition
• City & country branding debate
• Deep local and remote technologies
• Designing for (im)mobility
• e-mobility versus immobility
• Public media art projects and sustainability
• Energy and information
• ElectroSmog is Good for You!
• Food and global mobility

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Más en la web del festival y viene desde el Medialab.

Paisaje transversal

Paisaje Transversal es una Asociación Universitaria con sede en la ETSAM (Escuela Técnica Superior de Arquitectura de Madrid) conformada por colaboradores provenientes de diversos ámbitos: estudiantes, arquitectos, urbanistas, biólogos, artistas, geógrafos, sociólogos e historiadores del arte. Nace como extensión del blog con el mismo nombre (paisajetransversal.blogspot.com) con el propósito de intensificar las actividades que éste viene desarrollando desde su fundación en julio de 2007.

Esta “plataforma para la negociación urbana y la acción territorial” nació con la firme intención de establecer un lugar de encuentro entre personas con inquietudes e intereses en el paisaje, el urbanismo así como en cualquier acción relacionada con el territorio. En este sentido, propone el lugar ideal para el desarrollo de una conciencia transdisciplinar que avalase una reformulación de la práctica territorial y su enseñanza. De este modo, esta plataforma digital incita a los usuarios a la participación en la iniciativa a través de la publicación de todo tipo de materiales (artículos, vídeos, poemas…) inscritos en el marco teórico prefijado.

La constitución de Paisaje Transversal está refrendada por un fuerte carácter de renovación e innovación. Queremos poder tomar un papel destacado en la vida académica y apoyar la labor docente introduciendo complementos pedagógicos que puedan enriquecer la formación de los estudiantes. Bajo esta perspectiva se plantean una serie de objetivos seminales.

Para conocer más sobre Paisaje Transversal, anda hasta su blog.

The end; galería de LenhillAdvanced

El flickr de Lenhilladvanced es este.

Mapa de Asociaciones y Colectivos de investigación, producción y difusión del arte contemporáneo de Otroespacio

Ver Mapa de Asociaciones y Colectivos de investigación, producción y difusión del arte contemporáneo en un mapa más grande

Gran trabajo de cartografía del señor Jujo de Otroespacio.

The Collection Database of the Metropolitan Museum of Art

ArtistUnknown Artist, French School
Descriptive Title[Dismantled Wood Panelling Photographed in a Courtyard with Photographer Reflected in Mirror Above Mantelpiece]
Date1900s-1910s
MediumGelatin silver print
Dimensions38.4 x 53.5 cm. (15 1/8 x 21 1/16 in.)
Credit LineMuseum Accession
Accession NumberX.700.3
ClassificationCollage

The New Zealanders, 1847
Author: George French Angas (British, 1822–1886)
London: T. McLean, 1847
Illustrated book; H: 22 1/8 in. ( 56 cm)
Purchased with income from the Jacob S. Rogers Fund (916.3 An4 F)

Academie de l'espee; ou se domonstrent par reigles mathématiques sur le fondement d'un cercle mystérieux, la théorie et pratique des vrais . . ., 1628
Author: Girard Thibault (Flemish, died ca. 1629); Printer: probably the Elseviers of Leyden; Engraver: probably A. Boslwert
Anvers, 1628
Illustrated book; 2 pts. in 1vol.; H: 22 in. (56 cm)
Purchased with income from the Jacob S. Rogers Fund (240.7 T344 F)

Descrizione degli' istromenti armonici d'ogni genere . . ., 1806
Author: Filippo Buonanni (Italian, 1638–1725)
Presso Pietro Paolo Montignani-Mirabili
Printed books, engraved plates; 2 vols.
Presented by Mr. S.P. Avery (226 B641)

Formes et couleurs: vingt planches en couleurs contenant soixante-sept motifs decoratifs, 1921
Author: Auguste H. Thomas (French)
Paris: A. Levy, Librarie Centrale des Beaux-Arts, [1921]
Printed book, pochoir plates; H: 18 1/2 in. (47 cm)
Purchased with income from the Jacob S. Rogers Fund (152.7 T36 Q)

Collection Julien Gréau: verrerie antique, emaillerie et poterie appartenent à M. J. Pierpont Morgan, 1903
Author: Wilhelm Froehner (German, 1834–1925)
Paris: [privately printed], 1903 (edition of 90)
Hand-colored lithographs, printed texts; Texts: 309 pp.; H: 12 1/4 in. (31 cm); 5 vols. of color pls.: H: 22 in. (56 cm)
The Collection of Books on Classical Archaeology Bequeathed by Edward Robinson to The Metropolitan Museum of Art MCMXXXI for Use in the Classical Department. (143.6 S92)

The Collection Database is a searchable database of artworks and related materials from the permanent collection of the Metropolitan Museum of Art. An individual database record includes information about an object as well as images, when available. The Museum's curators have selected several works of note within the Collection Database as Highlights of the collection.

Due to the extremely large number of objects in the Museum's permanent collection, not all artworks are currently available in the Collection Database. Furthermore, information contained in the database records is, in some cases, incomplete, and all information is subject to change according to ongoing research and new acquisitions.
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Mucho más en la inagotable base de datos de la colección del Metropolitan museum.

Desertshore; Jan Tumlir - Brian Kennon, 2008.

Desertshore
Jan Tumlir - Brian Kennon
2008, 1st printing. edition of 250. 9.25x11" 79 pages.

Desertshore, my title, is borrowed from the 1970 album by Nico, the cover of which shows the po-faced chanteuse posed against a sandy expanse, riding a white horse, drawn along by a child. In order to guess at where she is going, one might want to start the point of departure. Famously, Nico was born under the sign of Mars, during the punishing bombing raids of the allied powers on an already defeated Germany. She grew up amidst the ruins of Berlin, before setting off for London and then New York to pursue a “triple-threat” career in modeling, acting and singing. Catching the attention of Andy Warhol in the latter half of the sixties, she was foisted on the band he was managing at the time, The Velvet Underground, thereby putting the finishing touch on what remains to this day the ideal art-rock equation. As she began work on Desertshore, however, the VU had already disbanded, and her solo status is clearly reflected in the desolation of the cover image, which is taken from a film by Philippe Garrel titled La Cicatrice Interieure. Nico and her child guide are located in the middle of nowhere. Only their darker complexions and brown riding boots distinguish them from the uniform whiteness of the desert backdrop and the horse. As in a film by Antonioni, one might imagine that they are on their way to disappearing.
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Para ver más imágenes del proyecto y leer el texto completo, ir aquí.

Bola extra, fragmento del film de Antonioni:

AIAN Archive of anonymous narrated image (ceci c’est pas an interview archive)

The AIAN is, mainly, a micro-history of the private management of the photographic image that uses the scene of the narration and its registry as support. It is an author file which uses as departure point the construction of a data base with audio-visual registries of the moment at which different people, requested of by the project, illustrate their private photographic images -coming from their familiar albums- with an oral narration. Around this main file other data bases or sub-files are built. Sub-files are constructed to cross these registries, deepening in the relations between image, word, memory, forgetfulness, construction of the reality and relation between the great cultural stories and the narrative and construction of the intimate memory.

According to several authors it is not possible to talk just about photography since the photographic practice includes all a series of human performances before and after “click” of the camera. There is one second photographic practice, that that goes since it is decided if a photography is conserved or not, and that happens through all a series of behaviors essential to understand the complex verb “to photograph”. To the light of these ideas “to photograph” becomes a complex act that includes all these practices: to reveal or not to reveal the image, to organize it next to others, to teach it, to narrate it, to trim it, to manipulate it and the practice that interest more here, the scene in which an individual uses the photography as a mean, when meet people and talk on the photography or through the photography.

First stage of the AIAN, sgce (section Spanish Civil War), produced by the Museum Patio Herrariano of Valladolid (Spain), has been a project of travel and registry by the Spanish State looking for places and people to create narrative scenes with photographies of the time of the Civil War as means. The conversations have been registered in video and later edited. These conversations have been oriented to the relation of the proprietor with the photography and that performance could framed within that second photographic practice to which we talked about.

Para más, en AIAN, parte del muy interesante proyecto amateur archivist.