[-empyre-] fourth topic and guests - density of the circuit

micha cardenas / azdel slade azdelslade at gmail.com
Wed Sep 23 14:13:00 EST 2009

hi all,

just a quick note to follow up this topic for this part of the month.
Gabriel, I believe you're going to Artivistic next month, and I've been
helping to organize that event for a while and it seems like a few of the
projects there are related to this issue of the circuit, its us for
deploying/distorting/employing images in different spaces to activate issues
of gender and sexuality.

such as:

De Geuzen's Wearable Resistance -
http://artivistic.org/en/content/wearable-resistance - A skillshare
exploring the body as billboard.

the bluetooth porn collector -
http://artivistic.org/en/content/bluetooth-porn-collector - The Porn
Collector is a big screen in public space to which people can send pictures
from their mobile phones.

my and elle's workshop and performance Technesexual -
http://artivistic.org/en/content/technesexual-1 - Over three days workshop
participants will be introduced to motion capture with a Wiimote, mixed
reality performance in Second Life and basic electronics with Freeduino, to
use them as methods to explore new configurations and possibilities of sex
and gender in mixed realities.

forgive my quick, slightly schizophrenic entry into the discussion, i was
following the border sounds conversation, as with that project we in EDT
have been considering the small mobile screen and its possibilities for
creating a virtual geography of hospitality and aid to counter the very
physical geography of us/mexico necropolitics.

It seems that an important element to consider in Denied Distances is the
activity of desire, what is denied and what is let in, how does the denial
amplify our wanting, and how does the rhetoric of the removal of distance
from everything in the contemporary world actually add distance, when that
which seems to be closest to our skin is farthest away. While I have strong
concerns about Lacan's writing the notion that "there is no sexual relation"
or "*There is no* such thing as a *sexual relationship"  (depending on your
translation)* it seems very useful here, not as a denial of the other, of
the female, but as an example of the fiction that is present in our most
concrete realities, the illusion of time that creates cinema or the fantasy
of pleasure through which we understand sexual pleasures. I'm reminded of
Marquez's Cien Anos de Soledad in which the Gypsy prophet says that in the
modern world distance has been overcome or defeated when presenting to his
audience a telescope, the very thing which can make distance most tangible,
showing us unreachable stars and nebulas. This aopria of desire, this knot,
is to me also present in the notion of mixed reality, where reality itself
is invoked by the presence of a totally fictional reality, but in the same
gesture illustrates the fiction of any reality.

thank you for your patience with my breathless connection making,


On Tue, Sep 22, 2009 at 9:48 AM, Gabriel Menotti
<gabriel.menotti at gmail.com>wrote:

> Dear empyreans:
> Thanks John for the last week contributions! I still haven’t had news
> from Grazi, but I hope she appears in time for this last week. Our
> final round is dedicated to the definitive territory of any medium:
> its circuit. By that, we are referring to the whole set of cultural,
> social and economic macrostructures that constitute the medium most
> fundamental underpinnings. Good examples of such structures are the
> channels for film distribution, along with their regulations and
> policies.
> The dislocation of an image naturally alters its meaning. The value of
> a symbol can be completely different depending on the cultural context
> it is seen. By approximating the way images are transported of the way
> they are constituted on the screen, video technologies have put into
> question the poetic results of distribution – how the structure of
> diffusion affect audiovisual languages and aesthetics. Artists such as
> Nam June Paik and David Hall have explored these characteristics in
> their works.
> Digital networks create even more complex imbrications between the
> visuals and their transmission all over the world, setting new forms
> of distributions, user agency and potential experiences. How are these
> possibilities being employed by artists (and companies!) nowadays? And
> how they might affect our very concepts of movie and cinema?
> These are our week’s guests:
> !Mediengruppe Bitnik
> The Zurich (CH) based !Mediengruppe Bitnik is an arts collective which
> has been working since 2003. !Mediengruppe Bitniks main focus is to
> investigate into social and media systems and their connotation(s) in
> society, thereby aiming at creating new fields for cultural action and
> collaboration. "Hacking", a strategy taken from software developement,
> is one theme for their artistic practice.
> Bruno Vianna
> Bruno Vianna works with film, mobile media and installations. He
> directed 4 shorts between 1994 and 2003, and released his first
> feature, Cafuné, in 2006.  In 2008, he released, Ressaca (Hangover), a
> feature narrative film that is edited live in every screening through
> the use of a touch screen interface. He has works in mobile digital
> media such as Palm Poetry and Invisibles, presented last year at the
> arte.mov festival. He has studied film and has a master's degree from
> Best!
> Menotti
> _______________________________________________
> empyre forum
> empyre at lists.cofa.unsw.edu.au
> http://www.subtle.net/empyre

micha cárdenas / azdel slade

Artist/Researcher, Experimental Game Lab, http://experimentalgamelab.net
Calit2 Researcher, http://bang.calit2.net

blog: http://transreal.org
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