This ' video newsletter ' features interviews with housing activists from Cape Town (specifically, Vrygrond, Delft and QQ section and Kwezi Park in Khayelitsha), talking about the ongoing housing struggle in the city.
The Reentry Series:
Synthetic Meteor Showers
by Bill Dolson
The Reentry Series uses multiple synthetic meteors to produce luminous, ephemeral drawings in the upper atmosphere. These drawings will persist for only seconds, at most minutes. The behavior of individual synthetic meteors will be similar to that of naturally occurring meteors. However their composition and configuration will be controlled, exhibiting various elementary geometric relationships which will seem obviously premeditated and systematic to any observer. That these are deliberate renderings will be inescapable. The Reentry Series is one of several proposed series of dynamic environmental works which involve the synthesis and aestheticised use of otherwise naturally occurring, very large scale, time dependent visual phenomena.
Pictures from the launch party, July 28, at Postmasters
Originally published in Spanish by the EZLN
Translated by irlandesa
A Penguin in the Selva Lacandona - Part 2
(The zapatista is just a little house, perhaps the smallest, on a street called "Mexico," in a barrio called "Latin America," in a city called the "World.")
I was speaking to you about the critiques of the points made by the Sixth Declaration of the Selva Lacandona concerning Mexico, Latin America and the World. Well, in response, allow me some questions:
Essay by Michael Govan
In the mid-1960s, during the same period that Michael Heizer was making large-scale, shaped, "negative" paintings in his New York City studio, he began a series of trips to his home states of Nevada and California to experiment on the expansive raw canvas of the American desert landscape, where he created "negative" sculpture. The genre that he and his colleague Walter De Maria invented there—later dubbed "Earth art" or "Land art"— changed the course of modern art history. Working largely outside the confines of the gallery and the museum, Heizer went on to redefine sculpture in terms of scale, mass, gesture, and process, creating a virtual lexicon of three-dimensional form.
The $256 Question
By Stan Cox, AlterNet.
Posted July 25, 2005.
By prosecuting Steven Kurtz and Robert Ferrell, is the Justice Department trying to clamp a lid on political art or looking to chalk up a win by exploiting fears of bioterrorism?
by Stan Cox
Interview with Joseph Nechvatal by Évelyne Rogue (Music2Eye)
Paris, February 2004.
Évelyne Rogue: Since 1986, you’ve been working with ubiquitous electronic visual information, computers and computer-robotics. Your computer-robotic assisted painting and computer animations are shown in galleries and museum throughout the world. How do you explain this choice?
Q: So, let's start with the basics of Who, What, When, Where and How. How did The Department of Ecological Authoring Tactics, Inc. (DoEAT) group start?
A: It began with some food projects I had started, thus the acronym, but it grew out of wanting to relieve myself from the institutional burden of being solely responsible for my thoughts and actions and to offer others this same shelter. It is not total anarchy, it is actually quite organized, it is simply adopting a methodology that many artistic, governmental, and corporate entities use to decentralize authorship.
WORDS MADE FLESH
Code, Culture, Imagination
Media Design Research
Piet Zwart Institute
institute for postgraduate studies and research
Willem de Kooning Academy Hogeschool Rotterdam
A b s t r a c t: Executable code existed centuries before the invention of the computer in magic, Kabbalah, musical composition and experimental poetry. These practices are often neglected as a historical pretext of contemporary software culture and electronic arts. Above all, they link computations to a vast speculative imagination that encompasses art, language, technology, philosophy and religion. These speculations in turn inscribe themselves into the technology. Since even the most simple formalism requires symbols with which it can be expressed, and symbols have cultural connotations, any code is loaded with meaning. This booklet writes a small cultural history of imaginative computation, reconstructing both the obsessive persistence and contradictory mutations of the phantasm that symbols turn physical, and words are made flesh.
Download as a PDF here