1. perfume—-genius:

    Watch the brand new video for the first single ‘Queen’

    Q.U.E.E.N // Perfume Genius


  2. YouTube Delivers People by Vera Tollman | http://ift.tt/1nclxDk

    Every time a new technology appears, it promises to solve the problems of an existing medium—but in reality, it tends to introduce new problems all its own. In particular, this describes the relationship between television and YouTube, two tools of mass culture that are good at hiding their technological parameters.

    At the height of the era of television in the 1970s, artists blamed television for its power to turn audiences into consumers. Using video—a technology that today is available to millions of amateurs—to tape their critique, Richard Serra and Carlota Fay Schoolman made Television Delivers People. At the early historical juncture of 1973, they criticized, in a humorous way, what pessimists like Neil Postman got worried about in the 1980s. Serra and Schoolman satirized the banality of TV programs by playing elevator music and scrolling critical messages, such as “the product of television is the audience,” across the screen.

    With the popularization of the Internet, new problems emerged with regard to the relationship between medium and viewer. The passive television viewer was suddenly turned into an active user with the changes in form, amount, speed, and context of information transmission. This online audience is currently reproducing everything it learned from TV. The paradox: people undermine commercial media within the framework of a corporately owned medium. The participatory paradigm produces new disadvantages, because in order to rise to the permanent call for creativity, people have to exploit their own means and skills. Web 2.0 comes with hours and hours of labor.

    Ramsay Stirling, a student from Copenhagen, recognized these new but not so different conditions and updated the Serra-Schoolman critique in his video YouTube delivers YOU. In it he states, “The New new media state is predicated on media subjectification,” and “Soft detournement is considered entertainment,” underscoring how the Internet user is a consumer, a producer, and the product itself all at the same time; inherent in such art is an indicator of the medium’s limits. Going further on the meaning of art since YouTube, Rosemary Heather suggests in her essay “Army of YouTube,” “There is a kind of autonomous intelligence that wants to be organized into a second level of meaning.” Some video artists like Natalie Bookchin have organized YouTube footage in such a way. In her typological work trip(2008), Bookchin took amateur clips recorded from cars and other moving vehicles around the world. These individual street views are orchestrated into an international road movie that comes along without suspense and narrative. In contrast, her multiscreen work Mass Ornament (2009) shows the scary homogeneity of clips of aspiring dancers. YouTube, therefore, becomes a signifier of cultural production, mirroringTV.

    from Moments.Memoires http://ift.tt/1nclxDo

  3. Klaxons - Twin Flames NSFW from BlindPig on Vimeo.

    Photo: The Future of Sex | Sexual hybrids as created by photographers Blommers / Schumm for Baron | nowness


  4. Of mediation and archival (notes)

    - undefined roles
    - liveness as documentation of the intimate
    - globally local
    - intimacy and proximity
    - collaboration against capitalism (nothing is ownable)
    - “to act”, “to act upon oneself”, “to be acted upon”
    - integrated mediation
    - memory and registration as artifacts
    - “electric amplification” of the senses
    - branding is an experience
    - the body
    - expansion and multiplicity
    - quantifiable and visible “butterfly effect”

    read more here

    from Moments.Memoires http://ift.tt/1rSYAqB


  5. e-stranger:

    On April 17th a performance Kaj misliš s tem? / What do you mean? at Kult3000, Metelkova, Ljubljana, with Annie Abrahams, Martina Rusham, Jana Wilcoxen and Chantal van Mourik. Annie, Jana, Chantal and Martina wrote text, using only their mothertongue, about their experience of living in a…


  6. MetaAcademy: working the medium and spreading the message


    Lisa Parra & Daniel Pinheiro - Meta Academy @ Bates 2013

    "Solano’s projects show how for dance the internet can be, instead of isolated bodies on screens, a platform for discovery, exchange and, most surprisingly, “moving” physical experience." 

    As we continue live the tension of permanent and persistent digital surveillance, constantly hovering over us, the use of the technoetic-incorporeal entity towards improving collaboration and broadening of the concept of interaction as a mean for extending our mind and bodies is, not only relevant but, one of the vertices of the social pyramid and of great use for inclusion and sustainability.
    Again, it’s necessary a continuous re-definition of the concepts and adjustments of the practices that are analogical and as such have the need for human power, potential and creativity to feed and nurture them.
    The space of the screen can be easily erased, shut down, reseted… but, while we grow more dependent of it, and while we decide to keep it on, the possible outcomes can continue to prove the path for sharing knowledge and bring to light the human capacity to overcome barriers and transform light and electricity into meaningful connections that celebrate our multiplicity.

    "Place–making is the confluence of activities, space, and conceptions" (Canter, 1977)

    This year “place-making” is to engage online with three international dance festivals this summer- Taking Place (July 1-13 in Columbus, OH, USA), Impulstanz (July 21 -August 18 in Vienna, Austria), and Bates Dance Festival (July 21-August 11 in Lewiston, ME, USA). We will also be participating in IDOCDE international symposium on contemporary dance education (August 1-3 in Vienna Austria) image - find out more at Dance-Tech Meta-Academy.

    from Moments.Memoires http://ift.tt/1rVqpf2



  8. momentsinimages:

    Drawings from real life // While he waited… (2014)

    Drawings from real life // While he waited… (2014)


  9. 'The Normal Heart' (dir. Ryan Murphy // written by Larry Kramer, based on his own 1985 play.)


  10. prostheticknowledge:

    I xxx cant imagine ARTFOR/UM xxxx ever doing a special issue on electronics or computers in art, but one never knows

    Rejection letter from 1967 - hat-tip: @jim_boulton

    (Source: carapils)