The Embroidered Digital Commons term 'Heterogeneous' will be hosted by 'All My Independent Women' at the Austrian Association of Women Artists event, November 3rd - December 3rd, 2011. Information below:
AMIW@VBKÖ:
What Can Words Do? / Oder vielmehr, was können Wörter tun?
Vereinigung bildender Künstlerinnen Österreichs – VBKÖ
Maysedergasse 2 (4 Floor), 1010 Vienna
The international network of feminist artists 'All My Independent Women' (AMIW) from Portugal will host an exhibition in Austria, invited by the Austrian Association of Women Artists (VBKÖ).
The exhibition will present artworks by: André Alves, Catarina Carneiro de Sousa and Sameiro Oliveira Martins, Laura García and Said Dokins, Alice Geirinhas, Risk Hazekamp, Roberta Lima, Ana Pérez-Quiroga, Suzanne van Rossenberg, Ângelo Ferreira de Sousa, Yan María Yaoyólotl, and performances by André Alves, Stefanie Seibold and the duo Projecto Gentileza. The video lounge will screen works by: Miguel Bonneville, Mónica Faria, Risk Hazekamp, Anna Jonsson, Cristina Mateus, João Manuel Oliveira, Rita Rainho, Flávio Rodrigues, Evelin Stermitz and Lenka Vráblíková. http://amiw-vbkoe.blogspot.com/
The exhibitors take passion as an excuse for engaging the world. At the core of their works they question how the desire for visibility can be transmuted into a different experience of equality and accountability to evoke feminist practices that functions a a ‘counter-hegemonic intervention’ in the arts in particular and in society in general.
November 3
Performance “A READER” by Stefanie Seibold.
The very way in which “A READER” is constructed activates its performative energies. The pin-board becomes a poster made of images, which can be read like an image-atlas – a visual archive which not only stores and collects, but which also activates its elements and connects them.
“Biting Song” by the duo Projecto Gentileza“Biting Song” is a concert/performance “on the relation of perception and physicality, reflecting on suppression and existence in a state of permanence around abstract mental places.”
November 4
Collective activity 'The Embroidered Digital Commons'
A project by Ele Carpenter, moderated by Carla Cruz, is an internationally distributed embroidery of the text 'A Concise Lexicon of/for the Digital Commons' written by the Raqs Media Collective (2003).
November 5
How can AMIW be, simultaneously, an exhibition and a platform for relationality?
Presentation of the publication: AMIW: New Portuguese Letters with Carla Cruz and Filipa Alves
Performance “Deprived Meanings” by André Alves.
The performance is interested in the translation of the tension between the will to say/act and the capacity to do so.
How can the desire for visibility be transmuted into a different experience of equality and accountability?
A round table on the importance of the arts to convey feminist struggles and on strategies from a feminist and antiracist perspective, based on equality and responsibility, that intervene in the dominant discourses in the arts and society. With an editor of 'Migrationsskizzen' (2010), Stefanie Grünangerl (collaborator of grassrootsfeminism.net) and Lisa Bolyos (feminist and anti-racist activist and artist).
Thursday, October 13, 2011
Wednesday, September 14, 2011
Ada Lovelace Film Screening
Film Screening
To Dream Tomorrow: Ada Byron Lovelace
National Museum of Computing, Bletchley Park
Saturday 8th October
2.30pm
To celebrate Ada Lovelace Day 2011 the
National Museum of Computing is proud to present Flare Productions film about
Ada Lovelace, followed by a discussion with the Directors John Fuegi and Jo
Francis.
‘To Dream Tomorrow’ is the story of Ada
Byron Lovelace (1815-1852) and her contribution to computing, a hundred years
before the start of the computer age. Daughter of a mathematically gifted
mother and the 'mad, bad, and dangerous to know' poet Lord Byron, Ada was 17
when she began studying a prototype mechanical calculator designed by
mathematician Charles Babbage. By the time she was 27, she had moved beyond her
famous contemporaries and predecessors such as Leibniz & Pascal, to describe
universal computing much as we understand it today. Alan Turing, who also
worked at Bletchley Park, was familiar with Lovelace’s work.
The screening is kindly made possible by a
grant from the School of Humanities, Kingston University, London. Curated by
Ele Carpenter, Goldsmiths College, University of London.
The National Museum of Computing
Block H
Bletchley Park
Milton Keynes
MK3 6EB
On Saturday 8th October the
Museum will be open 1-5pm.
Entrance £5 / £2.50 concessions.
To Dream Tomorrow:
Ada Byron Lovelace, Color, 52 minutes.
Directed and
Produced by John Füegi and Jo Francis, 2003.
Tuesday, September 06, 2011
Vector at the V&A
On Saturday 10th September I'll be hosting an Embroidered Digital Commons workshop in the Power of Making exhibition at the V&A Museum in London.
The workshop will be held around the Tinkerspace table in the middle of the exhibition, the show and the workshop are both free, and all materials are provided. Drop-in anytime between 1 - 4pm to get stitching!
The text we will be embroidering is by the Raqs Media Collective, and reads:
"Vector: The direction in which an object moves, factored by the velocity of its movement. An idea spins and speeds at the same time. The intensity of its movement is an attribute of the propensity it has to connect and touch other ideas. This gives rise to its vector functions. The vector of a meme is always towards other memes, in other words, the tendency of vectors of data is to be as ubiquitous as possible. This means that an image, code or an idea must attract others to enter into relationships that ensure its portability and rapid transfer through different sites and zones. The vectors of different memes, when taken together, form a spinning web of code."
The term 'Vector' seems appropriate for an exhibition where the vectors of objects and ideas connect and touch, porting through different sites and zones. The Power of Making exhibition brings together digital, analogue and physical material making and crafting as both process and object.
The V&A Magazine will feature an article about skill and making, based on a round-table discussion between a number of the writers in the catalogue and artists in the exhibition. The most interesting part of the discussion, for me, was the controversy of drawing analogies between computer coding and physical making, a hang-over from the utopian/dystopian technology division so clearly articulated by Ensensberger, and expanded upon by Alex Galloway and Eugene Thacker in their book 'The Exploit' (2007). There seems to be a correlation between the demise of teaching woodwork and computer coding in schools. Where education focuses on end user products rather than the skills to make and mend, invent and innovate. It seems we have a lot of tools, but no-one knows how to use them. At least the National Museum of Computing at Bletchley Park recognizes this, and introduces kids (small and large) to the joys of programming.
If you're interested, I've also written a short text called 'Social Making' for the Power of Making Catalogue.
The workshop will be held around the Tinkerspace table in the middle of the exhibition, the show and the workshop are both free, and all materials are provided. Drop-in anytime between 1 - 4pm to get stitching!
The text we will be embroidering is by the Raqs Media Collective, and reads:
"Vector: The direction in which an object moves, factored by the velocity of its movement. An idea spins and speeds at the same time. The intensity of its movement is an attribute of the propensity it has to connect and touch other ideas. This gives rise to its vector functions. The vector of a meme is always towards other memes, in other words, the tendency of vectors of data is to be as ubiquitous as possible. This means that an image, code or an idea must attract others to enter into relationships that ensure its portability and rapid transfer through different sites and zones. The vectors of different memes, when taken together, form a spinning web of code."
The term 'Vector' seems appropriate for an exhibition where the vectors of objects and ideas connect and touch, porting through different sites and zones. The Power of Making exhibition brings together digital, analogue and physical material making and crafting as both process and object.
The V&A Magazine will feature an article about skill and making, based on a round-table discussion between a number of the writers in the catalogue and artists in the exhibition. The most interesting part of the discussion, for me, was the controversy of drawing analogies between computer coding and physical making, a hang-over from the utopian/dystopian technology division so clearly articulated by Ensensberger, and expanded upon by Alex Galloway and Eugene Thacker in their book 'The Exploit' (2007). There seems to be a correlation between the demise of teaching woodwork and computer coding in schools. Where education focuses on end user products rather than the skills to make and mend, invent and innovate. It seems we have a lot of tools, but no-one knows how to use them. At least the National Museum of Computing at Bletchley Park recognizes this, and introduces kids (small and large) to the joys of programming.
If you're interested, I've also written a short text called 'Social Making' for the Power of Making Catalogue.
Thursday, April 28, 2011
Embroidery Ensemble
Café Crema
306 New Cross Road. London SE14 6AF
Nearest tube/train: New Cross or New Cross Gate
Sunday 22nd May, 2-4pm
Sunday 29th May, 2-4pm
Sunday 5th June, 2-4pm
Calling all stitchers, hackers, programmers, embroiderers, patchworkers, coffee drinkers, steampunks, artists, crafters, makers and tinkerers….
You are warmly invited to gather at Café Crema to stitch the term 'ensemble' as part of the Embroidered Digital Commons.
We will be close reading and embroidering the following text from ‘A Concise Lexicon of / for the Digital Commons’:
"Ensemble: The conceit or delight in togetherness in an increasingly anomic, fragmented world. Playing or working together to create finished or unfinished works. Chamber musicians, criminals, code-hackers and documentarists form ensembles. Artists try to. Effective ensembles are high bandwidth assemblies that build into their own architecture portals for random access into themselves. They are, when they are at their best, open systems that place a premium on shared information within them. They can at times maintain high levels of secrecy while seemingly appearing to be transparent. Here, confidentiality is an index of practices in gestation. Mined data is, sometimes, restored to natural states of information entropy in data dissembling ensembles, which have been found to work best at night in media labs. The Raqs Media Collective is an ensemble and everything it does is an ensemble of existing or anticipated practices."
(Raqs Media Collective, 2003)
This project is supported by The Co operative Community Fund.
306 New Cross Road. London SE14 6AF
Nearest tube/train: New Cross or New Cross Gate
Sunday 22nd May, 2-4pm
Sunday 29th May, 2-4pm
Sunday 5th June, 2-4pm
Calling all stitchers, hackers, programmers, embroiderers, patchworkers, coffee drinkers, steampunks, artists, crafters, makers and tinkerers….
You are warmly invited to gather at Café Crema to stitch the term 'ensemble' as part of the Embroidered Digital Commons.
We will be close reading and embroidering the following text from ‘A Concise Lexicon of / for the Digital Commons’:
"Ensemble: The conceit or delight in togetherness in an increasingly anomic, fragmented world. Playing or working together to create finished or unfinished works. Chamber musicians, criminals, code-hackers and documentarists form ensembles. Artists try to. Effective ensembles are high bandwidth assemblies that build into their own architecture portals for random access into themselves. They are, when they are at their best, open systems that place a premium on shared information within them. They can at times maintain high levels of secrecy while seemingly appearing to be transparent. Here, confidentiality is an index of practices in gestation. Mined data is, sometimes, restored to natural states of information entropy in data dissembling ensembles, which have been found to work best at night in media labs. The Raqs Media Collective is an ensemble and everything it does is an ensemble of existing or anticipated practices."
(Raqs Media Collective, 2003)
This project is supported by The Co operative Community Fund.
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