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      • Fecha
        24 May, 2017

        Where have you been?

        Lasse Scherffig / USA
        “Where have you been?” is an installation investigating the personal data leaked by networked mobile phones. It consists of a projection displaying seemingly random scenes from Google StreetView. These scenes, however, depict places members of the audience have visited in the past: a frequently used airport, a favorite café, or the own front yard. This information is harvested from the mobile devices entering the exhibition space, which search for available WiFis and by that reveal the networks they were connected to before. “Where have you been?” tries to link these networks to geographic origins, using WiFi location data collected by a wardriving community.
      • Fecha
        24 May, 2017

        Weeping Bamboo: Resonances fom Within

        Andreas Kratky and Juri Hwang / USA
        University of Southern California
        www.andreaskratky.com www.jurihwang.com
        Weeping Bamboo: Resonances from Within is an exploration of digital media for communicating and preserving indigenous forms of oral culture. It is a locational sound art piece offering a site-specific, reactive soundscape that can be experienced in public at the Plaza de Bolívar.
      • Fecha
        24 May, 2017

        SCARS&BORDERS (ARThropocene collection)

        Mitra Azar / USA
        Scars&Borders is an ongoing archive of images shot by the artist investigating crises locations at geographical borders from the imaginary yet real perspective metaphorically located at the buffering areas between two confining countries - where technically and political danger of this zone is underlined by their prison-state status and by the strategies of distraction enabled on site via presence of duty frees and/ or touristic attractions, both responsible for anesthetizing the subversive strength of those spaces. Those borders are selected on the basis of their sociopolitical and aesthetics potential in regards of disclosing narratives in the frame of challenging political situations, and studied from the point of view of an aesthetic of crises.
      • Fecha
        24 May, 2017

        Your Hearing Them

        Blake Johnston / New Zealand
        Victoria University
        www.blakejohnston.net 
        What does your voice sound like? This question may seem simple, but surprisingly, it can be problematic. The reaction to hearing one’s voice played back through a recording is often of disgust or disownership; “that’s not how I sound”. However, this version of your voice is much closer to the way others hear it. This reveals the duplicitous nature of the voice - there is a conflict in your own perception of it and what others hear. The answer to the question: “what does your voice sound like?” depends on who is asked.
      • Fecha
        24 May, 2017

        Institutions in Crisis

         
        Andrew Newman, Sophie-Carolin Wagner, Matthias Tarasiewicz and Teresa Dillon / Australia, Austria, Brazil, Poland                                                                                
        University of New South Wales, Research Institute for Arts and Technology, Instituto de Humanidades, Artes e Ciências
        Panel
        http://karlabru.net/site/, http://www.formerwest.org/Contributors/KubaSzreder, https://riat.ac.at  
          Free Libre Open Source Software (FLOSS) is an encompassing term, which refers to the licenses associated with making the source code that is the instructions and language per se, which define how software works and is made available for others to read, modify and share. Providing a brief history of FLOSS, this paper presents a hypothetical situation, whereby elements of FLOSS are applied to reimaging institutional change within the context of a contemporary arts venue and organisation. Framed as an artistic intervention, the art institutions structure and its existing forms are considered as the living, materiality of the practice.
      • Fecha
        24 May, 2017

        Turbidity Paintings

        Sara Gevurtz and Thomas Asmuth / USA
        Virginia Commonwealth University
        saragevurtz.com
        "Turbidity Paintings" explora y desafía la división entre las artes y las ciencias, y cuestiona directamente el papel del artista cuando se trata de la ciencia y los datos científicos. El proceso iterativo y el procedimiento son casi indistinguibles en el arte y la ciencia. El papel del artista y del arte en este proyecto es crear un modelo experimental que conduzca a nuevos diálogos sobre la calidad del agua.
      • Fecha
        24 May, 2017

        Synchronism

        Teoma Naccarato and John Maccallum / Canada
        Center for Dance Research (C-DaRE), Coventry University
        naccarato.org/dance
        In this intimate installation, participants are invited to join a partner inside a private booth. With electronic stethoscopes and transducers, the duo share the rhythms of their hearts in real-time, stimulating sites of pulsation on one’s own and one another’s bodies. Issues of mutual trust, consent, and play are negotiated nonverbally, as the pair transgresses boundaries of internal versus external, and self, other, and environment. Individual bodies are spread further as the heartbeat of each person is used to enliven an interactive, haptic sculpture and sonic installation throughout the public space, for everyone present.
      • Fecha
        24 May, 2017

        Finding Prana

        Helen Collard / United Kingdom
        Northumbria University
        www.helencollardo.com
        Finding Prana is a bio-art work that employs the yogic concept of prana (breath or life-force) and the practice of pranayama (regulation of breath) to bring awareness to our co-existence in air and breathing as our technology of being. Yoga practitioners make extraordinary claims concerning the value of the conscious observation and control of breath. Breathing here, is not just a gross bodily function segregated away from the mind and soul; breathing is our material of time and the producer of consciousness.
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