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Archive 2020: Sustainable Archiving of Born Digital Content

kocomputing123 — Thu, 22 Dec 2011 18:27:44 +0000

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Cartes cognitives arborigènes – un séminaire de Barbara Glowczewski

kocomputing123 — Wed, 26 Oct 2011 18:22:32 +0000

Dans ce séminaire, on s’intéresse aux lieux de médiation paradoxale du singulier, aux endroits privilégiés où se traversent, s’entrecroisent et s’alchimisent la singularité et la synthèse lorsqu’elles ont maille à partir l’une avec l’autre. La question n’est ni traitée dans sa généricité métaphysique, ni traquée dans ses manifestations scientifiques canoniques. Elle est approchée par surprise, dans les recoins où elle s’abandonne et s’expose à découvert…
Author(s) : Barbara GLOWCZEWSKI – CNRS – Centre National de la Recherche Scientifique, Paris, France, LAS – Laboratoire d’anthropologie sociale – Directrice de recherche, cinéaste

Times Square de Christophe Guillon

kocomputing123 — Sun, 16 Oct 2011 21:22:45 +0000

Les trois derniers mois de 1999 jusqu’au premier Janvier 2000 à Times Square depuis Paris, la fin du siècle dans la ville du siècle. A raison de une image toutes les 20 secondes, suivant l’évolution des travaux sur le trottoir.
Acquisition de 19000 images, l’une après l’autre, emmené par les travaux dont on ne connais pas la fin. La cabine téléphonique qui disparait pendant un moment, le reflet des clients attablés à l’intérieur du restaurant, les horaires des ouvriers sur la chaussée, le laveur de vitre du restaurant qui jette de l’eau une fois par semaine. La narration sur place, le changement de décors organisé par l’évolution des travaux et l’emplacement des barricades et le cadrage fixe vont vers les recherches de peintures sur la transparence des calques et le mouvement dans l’image. Un traitement d’apparition des images en transparence, un “Sfumato temporel”.
Le montage vidéo est fait en “flip book” et le son vient de l’enregistrement et le traitement d’un appel téléphonique d’Emily à Times Square.

Melik Ohanian expo Days, I See what I Saw and what I will See

kocomputing123 — Thu, 29 Sep 2011 21:39:31 +0000

Melik Ohanian
Days, I See what I Saw and what I will See
Sept. 10, 2011 – Oct. 8, 2011

La projection du film aura lieu au début de chaque heure, de 11:00 à 18:00, pendant 42 minutes
The film will be screened at the beginning of each hour, from 11:00 am to 6:00 pm, for 42 minutes

Film website

Remote Control Video Data Bank

kocomputing123 — Thu, 29 Sep 2011 21:37:57 +0000

Remote Control
Vito Acconci

1971 | 01:02:15 | United States | English | B&W | Mono

Collection: Early Video Art, Single Titles

Tags: Gender, Installation, Performance, Video History
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Two performers, Acconci and a young woman, occupy two wooden boxes in separate rooms, connected via monitor, camera, and microphone. The situation is symbolic of a vicarious and distended power relation, a relationship built through and reliant upon technological mediation. Watching her on a monitor, Acconci coaches the woman through tying herself up, urging her to pretend he is winding the rope around her legs and neck. Acconci states, “The tying up is an occasion for me to get into wrapping you up in a more generalized way.” The rope represents Acconci’s will in the woman’s space, binding her physically and mentally, as she stops resisting and acquiesces to his demands. As a study of consent and control, an underlying theme of the work is the manipulative potential of media technology, which reaches isolated viewers and subjects them to its organizing control.

Note: Remote Control was originally a two-channel installation. To recreate Acconci’s intended environment, each of the 62-minute tapes should be shown simultaneously on separate monitors.

Natalie Jeremijenko : the eco-mindshift on TED

kocomputing123 — Mon, 26 Sep 2011 20:45:40 +0000

The art of the eco-mindshift “Natalie Jeremijenko talks about the Envirnmental Health Clinic which “addresses environmental woes by combining engineering know-how with public art and a team of volunteers. These real-life experiments include: Walking tadpoles, texting “fish,” planting fire-hydrant gardens.”

Jill Magid discussing Evidence Locker

kocomputing123 — Mon, 19 Sep 2011 14:18:57 +0000

Jill Magid From hacking CCTV systems at MIT to glam cams

kocomputing123 — Mon, 19 Sep 2011 14:16:31 +0000

stevewilsonproject – home

kocomputing123 — Wed, 19 Jan 2011 20:07:58 +0000

stevewilsonproject – home.

bit projects archive

kocomputing123 — Tue, 17 Aug 2010 16:01:51 +0000

bit projects archive.

BUREAU OF INVERSE TECHNOLOGY: THE DECADE REPORT, THE BUREAU THE EVIDENCE THE FIRST 10 YEARS
adapted from a report delivered by bureau engineers natalie jeremijenko and kate rich at the piet zwart media design school in rotterdam, feb 2004

rotterdam statement

The following constitutes the first public statement on the history, formation and development of the Bureau of Inverse Technology.

The Bureau was formed in Melbourne Australia in 1991 by engineer/theorist Natalie Jeremijenko and radio journalist Kate Rich, in addition to artist Daniela Tigani; and incorporated in the Cayman Islands in 1992. It was originally constructed as an anonymous group, a guerilla technical intervention into some of the emergent techniques and technologies of the Information Age.

BIT works with Information Technology as its primary material, re-engineering technical systems to address the hidden politics of technology. The anonymity of the Bureau was in part a strategy to reflect on the anonymity of technical production – the diffused accountability and ethnographic anonymity in which information technologies and software are generally produced.