Mar 31, 2013

Are Hackers Heroes or Villains? | Off Book Series


Many people think of hackers as cyber criminals, breaking into computer systems with ill-intent. Though there are plenty of destructive hackers in the world, there have always been people who hack with a different purpose. Some define hacking as "finding creative solutions to technical problems." To them, hacking means having an exploratory mindset about technology, and a willingness to "get under the hood" to tinker and see what happens. Other groups, like Anonymous, employ more subversive hacking practices to forward social and political causes, embedding a social consciousness into the traditionally murky dark-side of security hacking. Looking beyond the media hype and scare tactics, it is clear that "hacking" is a term whose meaning should be up for debate, and that some hackers could in fact be heroes, and not just villains.[offbook]
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Mar 29, 2013

Albania's Bunker Mentality on PRI's The World

Continuing the subject of Albanian Bunkers as residue of the communist mentality and military paranoia that still linger not so latent(ly). 
In a way they are hidden in plain sight.
For more info go herehereherehere.


Photo credit: David Galjaard
Here's PRI's The World:


" You know the environmental mantra — reduce, reuse, recycle? Well, this story is kind of about all three.
More than half a million concrete bunkers dot the Albanian landscape. They’re holdovers from the time of Cold War leader Enver Hoxha.
Since the end of Communism, many of the bunkers have been re-purposed. But there are so many, Albanians don’t know what to do with them all.
If you’re looking for a poster boy that embodies “Communist strongman with an iron fist,” Enver Hoxha‘s definitely your guy.
Let’s tick the boxes.
Massive state security apparatus? Check.
Cult of personality? Check.
Rampant paranoia and xenophobia? Check and double check."
(the full transcript at PRI The World) 
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Cultural Commons & Creative Economy | Ekphrasis Studio


Last week we posted a clip from the Cultural Forum Conference held in Prishtina last month. The goal of this gathering was to initiate dialogue between the independent cultural sector and municipalities of Albania, Kosovo, (FYR) Macedonia and Serbia

As participants examined cultural policy and city in the context of city policies, it becomes obvious that we need to move beyond 'what ought to be done' and asking questions, towards collaboration to strategically execute the 'how to do it' and solve the problems in the region.
 
I think it's the right direction and hopefully a long-lasting relationship and partnership within the region for productive and successful cities. And that's why I'd like to share the presentation from Ekphrasis Studio, an initiative for cultural and creative development in Albania and abroad. 

Presented at the Conference “Culture Policies and The City”, supported by Forumi Kulturor and CULTURIST, Prishtina, Feb. 27, 2013

authors: Blerina Berberi & Kevin Tummers
" Introduction
Cultural policy has a misleading translation in Albanian administrative (Politika Kulturore- Eng. Cultural Politics) that easily confuses anyone with politics. But definition or wording aside, cultural policy is still a concept that, if existent, is hardly implemented, and that very few understand or show an interest in.
According to Compendium, the first Guide to the national Cultural Policy was drafted by the Ministry of Culture, Tourism, Youth & Sports (MCTYS) in July, 2010 with emphasis on national heritage, modernization of the society & participation in cultural life, decentralization of culture,protection, support and promotion of the Albanian identity & diversity1. Also, in July, 2000 the Law on the Organization and Functions of Local Government was implemented stating the autonomy of the local government as a way of decentralization. However, the decentralization of culture has not yet proved to be productive. The disagreements about funds and authority, between local and central governments, has to led to lack of funds for culture and cooperation between MCTYS and municipalities.2
Tirana as a capital city, in comparison to other cities, has no local cultural policy from the municipal level, aside from a few statements to make it the ‘city of arts’, decorations for the “Ambassador of Tirana”, and sporadic cultural events. In comparison to other cities, in Tirana the main cultural policy is implemented by the central government, thus the Ministry of Culture, with the support of local municipality. Other municipalities do not have a clear cultural policy, rather a few general perspectives and activities, or a wish list. After a recent conference in Paris, the Mayor of Berat published on the city website “a message for stronger collaboration”, however nowhere did he explain what he means or how to do this.
There is not yet a clear division of authority between institutions, and state cultural institutions rely on state funds and not box office and sales, thus staff sees no incentive for additional efforts, and the already low status quo remains. 
What is currently lacking and is of great importance, is to find out what people think, want and what are the existing strengths. By consulting the public and mapping what we know, we can find what we are missing. It is also very important to establish a set of coherent principles, objectives and ways to to protect, promote and produce culture, for which people’s voices are crucial. 
As every citizen, our concern starts with the concept ofcultural commons – why do we see what we see as cultural goods in the city, as well as clarifying what are the missing economic opportunities from creative cultural industries in the city and nation wide."
For a full presentation transcript go to their website, here.

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Mar 26, 2013

Art Kontakt Festival 2012 | A Closer Look

Last summer Art Kontakt organized the International Arts Festival 2012 at the Ali Pasha Castle in Porto Palermo. 

Subject: The Crisis, The System & Changes

Art Kontakt Festival is unique to the Albanian art scene, in form and content. It combines experimental art and entertainment by inviting established and emerging visual artists, as well as talents who play experimental electronic music trends. Thus, creating a hybrid of multi-dimensional genres.

This edition includes an architectural component that offers ideas and visions to re-conceptualize and transform ex-military zones (such as this one in Albania) into artistic territories and [inter]national cultural melting-pots.

Here's a closer look:


Verën e kaluar, Art Kontakt organizoi  Festivalin e Artit Bashkëkohor 2012 tek Kalaja e Ali Pashës në Porto Palermo. 

Tema: Kriza, Sistemi dhe Ndryshimet

Formati i Art Kontakt Festival është një format unikal për skenën artistike shqiptare, në formë dhe përmbajtje. Është një kombinim i artit eksperimental me zbavitjen, duke ftuar artistë vizualë të konsoliduar dhe emergjentë (të rinj) me artistë që luajnë tendencat e muzikës eksperimantale elektronike. Pra, kijohet një hibrid me zhanre të tjera.

Në këtë edicion është dhe sektori i arkitekturës që jep ide vizione për një rikonceptim të zonave të tila ish-ushtarake që fare mirë mund të shndërrohen në zona arti dhe prurje kulturash ndërkombëtare.


**If you're not familiar with ArtKontakt check out their website and our posts (herehere, here, here, here).

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Mar 25, 2013

Open Invitation | I'm a City Changer

I'm a City Changer is a worldwide campaign with the aim of sensitizing and creating awareness among citizens on urban issues to achieve better cities. // 
Unë jam Ndryshuesi i Qytetit është një fushatë mbarë botërore me qëllim sensibilizimin dhe krijimin e ndërgjegjësimit qytetar mbi çështjet urbane për të përmirësuar qytetet.

 1. 21st century challenges are in cities // Sfidat e shekullit 21 janë në qytete
 2. World population is growing // Popullsia botërore po rritet
 3. For no slums // Për asnjë lagje të varfër
 4. For facing climate change // Për përballjen me ndryshimin e klimës
 5. For fewer emissions // Për më pak emetime
 6. Urban areas are an economic opportunity // Zonat urbane janë një mundësi ekonomike
 7. Cities are the future of younger generation // Qytetet janë e ardhmja e brezave të rinj
 8. Cities are creative and productive // Qytetet janë kreativ dhe produktiv
 9. We love cities // Ne i duam qytetet
10. It is the time to change // Është koha për ndryshim

To learn more about the Campaign and Add your story, check out their website.


I'm a City Changer Campaign works to achieve better cities and better life fostering proper sustainable urban development through key core components:

A Resilient City - Prepare cities for change, managing adversity, resilience and take action to reduce risk. Urbanization and development can only be sustainable if it is adaptable to future demands and risks, and is resilient to the consequences of climate change or natural disasters. Empowering cities and communities to plan for and effectively manage adversity is fundamental to the urban agenda.

A Green City - Build environmentally sound and carbon efficient cities. Buildings alone account for 30% of greenhouse gas emissions, and the way we plan and design our cities now will have significant implications for how resilient, resource efficient and environmentally sound they are in the future. A green city means promoting sustainable development through a carbon efficient built environment.

A Safe and Healthy City - Make cities safer and healthier. Cities hold the answers to challenges posed by urbanization, which are in turn inextricably linked to issues of and agendas concerning the economy, climate change, resource consumption, food security and more. Cities need to be highly livable environments in order to capitalize on their tremendous potential as the drivers of sustainable solutions to our current and future challenges.

An Inclusive City - Build socially inclusive, accessible, pro-poor, equitable and gender sensitive cities. Socially equitable development is one of the three pillars of sustainability, and is vital to creating a shared, sustainable urban future. The challenges posed by the pace and scale of contemporary urbanization require us to invest in infrastructure, development and political processes that promote inclusivity, and a pro-poor, gender sensitive agenda. An inclusive city promotes equitable rights to the city and therefore allows all citizens to partake of the urban advantage.

A Planned City - Plan the cities of tomorrow for sustainable decision-making processes. Sustainable urbanization and development requires planning processes and political frameworks that harness the city's assets and potential. Sustainable planning entails participatory decision making processes and particular attention to development that balances social, environmental and economic needs. Of equal importance, sustainable planning and a planned city are fundamental to achieving the characteristics of all other World Urban Campaign thematic areas.

A Productive City -- Make cities more efficient and better places to ensure decent work. Economically equitable development is also one of the three pillars of sustainability, and a requisite component of any healthy, livable and sustainable city. Pursuing a sustainable development agenda means planning cities that promote and foster livelihoods for all citizens through economic opportunities.

**I'm a City Changer campaign is convened by UN-Habitat, the United Nations Human Settlements Programme, with support from partners from the private and public sector.

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Mar 24, 2013

Web Comics | Puzzle Stories by Design

**Creative Sunday Series
Vizatimet komike në web po bëhen një formë gjithnjë e më popullore arti. Çfarë i bën ato kaq të suksesshme?
Duke lëvizur përtej kufizimeve të printimit, artistët e web-komik komunikojnë drejtpërdrejt me audiencat e tyre, dhe punët që krijojnë janë shpesh të bazuara në formate të reja, të mundshme vetëm online. Ndonjëherë zbavitëse, ndonjëherë personale, dhe pothuajse gjithmonë të veçanta, krijuesit e web-komik e kanë shtyrë formën tradicionale të strip komik drejt një pjekurie artistike.
Watch The Rise of Web Comics on PBS. See more from Off Book.
Web comics have become an increasingly popular art form. What makes them so successful?
Moving beyond the restrictions of print, web comic artists interact directly with audiences who share their own unique worldview, and create stories that are often embedded in innovative formats only possible online. Sometimes funny, sometimes personal, and almost always weird, web comic creators have taken the comic strip form to new, mature, and artistic heights. via
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Mar 23, 2013

Otherness | Misc. Projects of the Week

Otherness this week focuses on converging [screen][city][land]scapes of visual and narrative forms.


NEW CINEMA: WE MAKE THE WEATHER
a breath-controlled interactive work in which the viewer wears a headset with a microphone sensor that monitors their breath and tracks its ebb and flow, and level of intensity, then uses this information to control the visuals and sound within the 3D animated landscape; in this case a virtual figure crossing a never-ending bridge over a body of water

via

THE LOST TRIBES OF NEW YORK CITY
inanimate objects from the streets of NYC are animated using the voices of interviews with New Yorkers



TROUBLE IN UTOPIA
an industrial cityscape, a mosaic of moving parts, colors and angles shifting to a straight line, mimicking the horizon
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Mar 22, 2013

Open Invitation | Colors of Albania

Introducing Colors of Albania (Tumblr), in case you've missed it or haven't checked it out yet.
Colors of Albania aims to bring the best films and documentaries currently produced in or about Albania, as well as related stories scattered across the web, in one place, to audiences worldwide.
Their vision is to become an exciting online library of contemporary film and photography, as well as a place to connect, share, learn and inspire.
Colors of Albania is run by The Albanian Cinema Project (here & here), an initiative that brings much needed awareness, attention and assistance to the current plight of the Albanian Film Archive (Arkivi Qëndror Shtetëror i Filmit). 

Here's a screenshot:


So, don't forget to SAY HELLO!

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Mar 21, 2013

Cultural Policy & the City | ShareCulture.EU (part 1)

Part 1 – Clips from Feb. 27 Cultural Forum in Prishtina.
This conference was made possible by Culturist & Forumi Kulturor, and was the first serious attempt to initiate dialogue between the independent cultural sector and the municipalities in Kosovo. The topic Cultural Policy and the City was examined in the contexts of city policies in Albania, Kosovo, (FYR) Macedonia and Serbia. via shareculture.eu

Stay tuned for Part 2!
For more info on this conference and to learn more about what's being done in the region visit: ShareCulture! Website of the project "Webtvs for European Culture"


Pjesa e Parë – Klipe nga Forumi Kulturor i 27-të shkurtit në Prishtinë.
Kjo konferencë u bë e mundur nga culturist & Forumi Kulturor, dhe ishte përpjekja e parë serioze për të nisur dialogun mes sektorit të pavarur kulturor dhe komunave në Kosovë. Tema Politika Kulturore e Qyteti u shqyrtua në kontekstin e politikave qytetare në Shqipëri, Kosovë, (FYR) Maqedoni dhe Serbivia shareculture.eu

Na ndiqni për Pjesën e 2-të!
Për më shumë info mbi këtë konferencë dhe për tu njohur më shumë me ç'ka po ndodh në rajon vizitoni: ShareCulture! Website of the project "Webtvs for European Culture"


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Mar 20, 2013

Video Paintings | The Work of Brian Eno

If you're looking for inspiration, you've found it :)
I was pleasantly reminded of Brian Eno's work from a recent article on Open CultureI hope you enjoy it too.
Brian Eno | Where 1980's TV Technology meets Video Art
Brian Eno is a well-known music producer, resident intellectual of rock, “non-musician” musician, “drifting clarifier,” and popularizer of ambient records, who went to art school. His "video paintings" from the 80's are available on youtube.
77 Million Paintings, a randomized music and images that emulate a single screen.


For a complete performance check out this two part video: 

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Thursday Afternoon, his series on the female form.


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Mar 19, 2013

Featured Event | My Name Their City by Alban Muja

Autobahn event opening lineup Friday, March 22, 2013:

prezanton // presents:

"EMRI IM, QYTETI I TYRE" // "MY NAME, THEIR CITY"

nga // by
 Alban Muja 

March 22 - April 3, 2013 
Opening @19:00 h


Alban Muja // Emri im, qyteti i tyre

Emri im, qyteti i tyre” është një seri e fotografive që eksplorojnë një fenomen shumë specifik kosovar: atë të emërtimit të fëmijëve kosovarë sipas qyteteve të Shqipërisë. Gjatë viteve të 70-ta dhe 80-ta ky lloj i emërtimit ka qenë i lidhur me ëndrrën kombëtare të bashkimit të të gjitha tokave shqiptare. Izolimi nga Shqipëria dhe malli për te nga kosovarët është materializuar me emrat sikur që janë Berat, Milot, Saranda, Gjirokastra, Shkodran, Butrint dhe Vlora – sado që kjo banorëve të këtyre qyteteve iu duket e çuditshme.

Alban Muja është një artist viziv dhe regjisor i bazuar në Kosovë. Muja eksploron konceptet e emërtimit, vendit dhe politikave në opusin e tij të gjerë, i cili përfshin video instalacionet, filmat e shkurtër, dokumentarët, vizatimet, pikturën dhe performancën. Një prej projekteve të tija të bëra rishtas, Emri im, qyteti i tyre, do të ekspozohet si pjesë e Autobahnit.

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Alban Muja // My name, their city

“My name, their city” is a series of photographs that explores a very specific Kosovar phenomenon: that of naming Kosovar children after Albanian cities. During the 70's and 80's this kind of naming was linked to the national dream of unifying all Albanian lands. The isolation from and longing for Albania by Kosovars is materialized in names such as Berat, Milot, Saranda, Gjirokastra, shkodran, Butrint and Vlora - as strange as it seems to locals of these towns. 


Alban Muja is a Kosovo-based visual artist and filmmaker. Muja explores the concepts of naming, place and politics in his expansive body of work, which includes video installations, short films, documentaries, drawing, painting and performance. One of his most recent projects, My name, their city will be exhibited as part of Autobahn

RSVP Event

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The Afterparty


Autobahn party @ REMIX the Space 
23:00h 

Kënaquni një natë me muzikë të bukur kosovare me Genc Salihun dhe Visar Kuçin (akustikë), pastaj vijnë DJ-at Totoni dhe Dardan Ramabaja. Hyrja te dera: 500 L

Enjoy a night of great Kosovar music with Genc Salihu and Visar Kuci (acoustic duo), followed by Toton and Dardan Ramabaja on the decks. Entry fee at the door: 500 lekë.



RSVP Event 

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Mar 18, 2013

Albanian Bunkers | Feat. When the Siren Goes Series

In the recent years there has been a lot of talk and even more projects about the bunkers that Enver Hoxha built in Albania during communism. Most of the discussion has been led by young creative Albanians that view these objects, or better yet artifacts not only as symbols of a suppressed and highly paranoid past but as prosporous shelters to be integrated in the future public life. Once symbol of a paranoid image of an enemy that never was, now transformed into an icon of what a full life could be in a free country. Once assigned to keep the enemy out, now re-purposed to promote tourism.

I have previously written about a few of them:

CONCRETE MUSHROOMS + THE DOCUMENTARY by Elian Stefa & Gyler Mydyti
BUNKER MENTALITY/LANDSCAPE LEGACY by Anila Rubiku
COMMON GROUND - IN HERITAGE by Albanian Pavilion @13th Venice Biennale


There are also a few international artists, mainly photographers who have captured the current conditions of these bunkers a midst all urban, landscape and cultural transitions of the past twenty years. If we compare the way a local artist approaches the subject with how an outsider shots the object itself, we can clearly see the different dynamics of the work and how it behaves when it is put in a larger context or if we add more content, aesthetics aside. 

To the outside world this physically heavy object is a mystery and that's the main reason they're drawn to it. But to a local, it is not only physically but psychologically heavy too. It has left traces of unspoken, still not understood shrapnel that Albanians have put a lid on, but haven't dealt with yet. None the less, it's still a mystery to them as well.

How would you compare it? For a more comprehensive understanding of what I am talking about, check out the above projects and read the article below.
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Last week, WIRED published an article about this same subject, you can read it below. Don't forget to check out that website for more photos from David Galjaard's book Concresco.
image credit: David Galjaard

by PETE BROOK 03.12.13 6:30 AM From the series When the Siren Goes
In Albania, 750,000 Communist-era bunkers populate the landscape, relics of the paranoia and skewed priorities of former dictator Enver Hoxha. Now they exist as quirky homes, animal shelters, ad hoc storage and make-out spots. The peculiar program of bunkerization, which lasted Hoxha’s entire 40-year rule, resulted in one bunker for every four citizens.
In November of last year, Dutch photographer David Galjaard won the 2012 Aperture Foundation/Paris Photo First Photobook Award for Concresco, a book that surveys the scattered and now repurposed or deteriorating concrete blobs. As much as the bunkers have intrigued historians, Galjaard laments how little the general public knows about Albania.
“Everyone knows about Stalin but nobody knows Hoxha,” says Galjaard. “It’s a secret history, probably because Albania is so small. You can seeConcresco as an introduction to a country that only a few people know.”
The bunkers’ abandonment, reuse and reimagining for Galjaard reflects the changing politics, lifestyles and aspirations in the former Eastern Bloc nation.
“I’m telling a story about a country and I’m using bunkers as metaphors,” says Galjaard. “Albania is an Eastern country but it wants to be part of the West. It has one foot in each, and the split is sort of unnatural. Albanians still have not found their identity so they struggle with the past, but also struggle with the future. And future for them is being part of Western Europe.”
The Communist leader Hoxha rose to power in 1944 as leader of the Party of Labour of Albania and ruled until his death in 1985. Hoxha was on constant alert for political threats and maintained his position with routine immobilization, imprisonment and eviction of his people and political opponents. Hoxha’s suspicions also extended beyond Albanian borders and the bunkers, which number 24 to every square kilometer, and were built in preparation for a multi-front war Hoxha expected from invading countries, East and West. Every citizen in Hoxha’s plan was a reservist. Twelve-year-olds were trained to fire rifles. The bunkers never saw action.
Today, Albanian authorities are at a loss for what to do. The reinforced concrete domes are as difficult to repurpose as they are to destroy. Tourists are fascinated by the bunkers strewn like confetti across scenery, but for locals they’re a largely uninteresting, if obstructive, part of the landscape.”
Construction costs were a huge drain on the small Balkan nation’s resources and diverted efforts away from improving roads or solving Albania’s chronic shortage of housing. The bunkerization program began in 1967 and ceased soon after Hoxha’s death in 1985.
Today, Albania is extremely pro-West, particularly pro-American. In 2011, the prime minister erected astatue of George W. Bush in the town of Fushë-Krujë.
“I think Albanians are the biggest fans of America worldwide,” says Galjaard. “They name bars after Bush. You see a lot of Albanian flags, but you also see a lot of American flags. More than European flags. People would ask me if I was American, hoping I was.”
Galjaard visited Albania three times over an 18-month period, spending a total of four moths in the country. The project is a thorough but open-ended look at the country and its people.
“Concresco is not Albania, it is my vision of Albania,” says Galjaard of the book which includes personal essays by two writers Slavenka Drakulic and Jaap Scholten. “It is built of opinions. Then you have interviews with the Albanian people also. Sometimes the opinions contradict.”
Galjaard is not the first photographer to focus on Albania’s bunkers. Alicja Dobrucka has a similar project. What distinguishes Galjaard’s work was his decision to present the project primarily as a book. Galjaard raised money with help from arts organizations, some crowd funding, support from the Dutch embassy in Tirana, and not a small amount of his own savings — about 12,000 Euros, he says.
The investment was worth it. All 750 copies have sold and Concresco is now a rare object. Perhaps the book benefitted from the renaissance enjoyed by self-published and small-run photobooks in general, but Galjaard insists that not all bodies of work, however great, necessarily work or find validation in book form.
“I don’t want to make books for the sake of it, I want to make books because a series needs a book. Otherwise, I don’t know if it is worth all the hassle and also the competition because there are so many people making books these days.”
When the Siren Goes (Photos 16-22)
Concresco is not the first project for which Galjaard has gone subterranean. Between 2006 and 2008, Galjaard made When The Siren Goes, a survey of WWII era bunkers in the Netherlands, and stylistically it sowed the seed for Concresco. Fresh out of the Royal Academy of Art in The Hague, Galjaard had a Leica over his shoulder. He was influenced heavily by Ed van der Elsken but the black and white documentary aesthetic started to wear thin.
“Something changed. I couldn’t relate to my own style. I made a 180 degree switch and started working on large format Hasselblad and Mamiya 6×7 cameras. And I began with color. I was still interested in people and in story, but I wasn’t interested in relying on people in the picture to tell the story, so I turned to environment and used space,” says Galjaard.
From Rotterdam to Friesland, Amsterdam to Enschede, Dutch towns test their emergency sirens on the first Monday of each month. They’re a throwback to 20th century vigilance and seem to exist only because of civic inertia.
“I wondered what would happen if the siren would go on Wednesday,” says Galjaard. “I discovered that you’d just have to go home and put on your television and hope that nothing happens.”
After 9/11, the Dutch shelters briefly reentered discussions on security. Two thirds of Dutch people reported that they wanted to be close to a shelter – in spite of the fact the shelters offered next to no protection and modern ballistics would reach you before you reached the bunker.
“If you’re bombarded every day with the possibility of attack, then you’re more scared and feel in more need of shelter.”
Largely symbolic and an unjustifiable expense the Dutch government effectively mothballed the bunkers in a few years back when they gave town mayors the last opportunity to stock the shelters with supplies.
“The bunkers in my photos are the last you’ll find in Holland,” says Galjaard.
After friend and journalist Ewout Lamé saw When The Siren Goes, he told Galjaard of the archipelago of bunkers in Albania.
“As soon as I read there was anything from 750,000 to a million bunkers in such a small country I really had to see it,” says Galjaard.
He waited until winter was over and, in early 2009, drove across Europe for the first of his three trips. For Galjaard, there is a common psychology between When The Siren Goes and Concresco.
“I like dark places. It’s probably something from my youth – a suspense and a dangerous feeling. That’s all a sublayer, but I don’t know exactly what it is. I probably have to go to a psychiatrist to find it out,” says Galjaard. After a moment he adds, “It is hard to explain in English.

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Mar 17, 2013

The Invisible Artist | Disappearing Act

Wanna disappear? See how Liu Bolin, the invisible artist, does it by camouflaging and blending in with the surroundings. It is an interesting project that shifts the spatial hierarchy of the body and the city. It starts to negotiate the spatial intimacy occupied by the human body and public visibility. We become what we see. Only if we stay still.

Mar 16, 2013

Otherness | Misc. Projects of the Week

Otherness this week focuses on the spatial qualities of media arts to create tangible experiences. Capturing, performing and enjoying music, lights, interactive space that is not defined or restricted by its physical presence but by our own senses and mobility.  

The video clips below are from the creators project.

MUSIC BOX
creating art without secrets, a crankable LED music box, a curtain of glass beads that light up with touch, and a helmet that makes 'more like Buddha'

via 

REMIXING TELEVISION
distilling TV down to the essence of an emotion, words, or colors through data visualization

via 

MUSIC BOX
'the scientist of sound' returns with a mind-blowing projection-mapped performance sculpture

via 

THE BAY LIGHTS 
by Leo Villareal 
the world's largest LED sculpture on the San Francisco Bay Bridge, 
the custom algorithms ensure the patterns won't repeat for two years

via 

REVEAL THE ABSENCE: THE UN-BUILT
by G. Mazars 
a monument echoing the various works of El Lissitzky, it reveals the notion of space and depth within three-dimensional structures, the system highlights emptiness, depth, projections - disclosing its physical absence

reveal the absence - the un-built by g. mazars
via

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