video_dumbo Film Festival at Eyebeam: May 16 - 25

Still from The Moon Goose Colony // Agnes Meyer-Brandis // 2011 // 20:56 min.

Agnes Meyer Brandis’ poetic-scientific investigations weave fact, imagination, storytelling and myth, past, present and future. In the “Moon Goose Colony” the artist develops a narrative based on Godwin’s book, “The Man in the Moone”, by bishop Francis Godwin, in which the protagonist flies to the Moon in a chariot towed by ‘moon geese’. Meyer-Brandis has actualised this concept by raising eleven moon geese, giving them astronauts’ names*, imprinting them on herself as goose-mother, training them to fly and taking them on expeditions and housing them in a remote Moon analogue habitat. * Neil, Svetlana, Gonzales, Valentina, Friede, Juri, Buzz, Kaguya-Anousheh, Irena, Rakesh, Konstantin-Hermann 

Screening May 17: ANIMALICIOUS

Timestamp: 1368028834

video_dumbo Film Festival at Eyebeam: May 16 - 25

Still from The Moon Goose Colony // Agnes Meyer-Brandis // 2011 // 20:56 min.

Agnes Meyer Brandis’ poetic-scientific investigations weave fact, imagination, storytelling and myth, past, present and future. In the “Moon Goose Colony” the artist develops a narrative based on Godwin’s book, “The Man in the Moone”, by bishop Francis Godwin, in which the protagonist flies to the Moon in a chariot towed by ‘moon geese’. Meyer-Brandis has actualised this concept by raising eleven moon geese, giving them astronauts’ names*, imprinting them on herself as goose-mother, training them to fly and taking them on expeditions and housing them in a remote Moon analogue habitat. * Neil, Svetlana, Gonzales, Valentina, Friede, Juri, Buzz, Kaguya-Anousheh, Irena, Rakesh, Konstantin-Hermann 

Screening May 17: ANIMALICIOUS

video_dumbo Film Festival at Eyebeam: May 16 - 25

Still from Sounds from Beneath // Mikhail Karikis + Uriel Orlow // 2010-11 // 06:42 min.

For Sounds from Beneath the artist Mikhail Karikis invited a community of a coal miners’ choir to recall and vocalise the industrial sounds of a working coal mine. He then invited Uriel Orlow to collaborate on the video which depicts the choir on a disused Kentish colliery where they used to work. The sunken mine is brought back to life resonating with sounds of former activity: underground explosions, mechanical clangs cutting the coal-face, wailing alarms and shovels scratching the earth, all sung by Snowdown Colliery Male Voice Choir grouping in formations reminiscent of picket lines. 

Screening May 16: ACOUSTIC SIGNATURES

Timestamp: 1367957760

video_dumbo Film Festival at Eyebeam: May 16 - 25

Still from Sounds from Beneath // Mikhail Karikis + Uriel Orlow // 2010-11 // 06:42 min.

For Sounds from Beneath the artist Mikhail Karikis invited a community of a coal miners’ choir to recall and vocalise the industrial sounds of a working coal mine. He then invited Uriel Orlow to collaborate on the video which depicts the choir on a disused Kentish colliery where they used to work. The sunken mine is brought back to life resonating with sounds of former activity: underground explosions, mechanical clangs cutting the coal-face, wailing alarms and shovels scratching the earth, all sung by Snowdown Colliery Male Voice Choir grouping in formations reminiscent of picket lines. 

Screening May 16: ACOUSTIC SIGNATURES

Eyebeam + ISSUE Project Room present HPSCHD on May 3+4 at Eyebeam, 540 West 21 Street. Buy tickets here!

johncagehpschd:

John Cage once notoriously said, “I hate the harpsichord, it reminds me of a sewing machine,” and he was not the first to express such a distaste for the thing. Ralph Vaughan Williams’ interpretation of Bach’s St. Matthew Passion replaced the harpsichord part with piano and organ, emphasizing that “it is our privilege and duty to use all the improved mechanism invented by our instrument-makers.” Sir Thomas Beecham once said that the harpsichord sounded like “two skeletons copulating on a tin roof in a thunderstorm.” The writer Daniel Johnson notes, “it’s interesting that Cage didn’t like the sound of the harpsichord, not because it’s such an unusual thing to dislike, but because the reasons people tended to dislike it were the very things that Cage was trying to liberate in his other music.” —Nick Hallett

Timestamp: 1367015000

Eyebeam + ISSUE Project Room present HPSCHD on May 3+4 at Eyebeam, 540 West 21 Street. Buy tickets here!

johncagehpschd:

John Cage once notoriously said, “I hate the harpsichord, it reminds me of a sewing machine,” and he was not the first to express such a distaste for the thing. Ralph Vaughan Williams’ interpretation of Bach’s St. Matthew Passion replaced the harpsichord part with piano and organ, emphasizing that “it is our privilege and duty to use all the improved mechanism invented by our instrument-makers.” Sir Thomas Beecham once said that the harpsichord sounded like “two skeletons copulating on a tin roof in a thunderstorm.” The writer Daniel Johnson notes, “it’s interesting that Cage didn’t like the sound of the harpsichord, not because it’s such an unusual thing to dislike, but because the reasons people tended to dislike it were the very things that Cage was trying to liberate in his other music.” —Nick Hallett

April 4, 2013: “Artists as Hackers” panel discussion from F.A.T. GOLD with Evan Roth, Aram Bartholl, Tobias Leingruber, James Powderly, and Addie Wagenknecht, moderated by Christiane Paul. (part 4 of 4)

April 4, 2013: “Artists as Hackers” panel discussion from F.A.T. GOLD with Evan Roth, Aram Bartholl, Tobias Leingruber, James Powderly, and Addie Wagenknecht, moderated by Christiane Paul. (part 2 of 4)

April 4, 2013: “Artists as Hackers” panel discussion from F.A.T. GOLD with Evan Roth, Aram Bartholl, Tobias Leingruber, James Powderly, and Addie Wagenknecht, moderated by Christiane Paul. (part 3 of 4)

April 4, 2013: “Artists as Hackers” panel discussion from F.A.T. GOLD with Evan Roth, Aram Bartholl, Tobias Leingruber, James Powderly, and Addie Wagenknecht, moderated by Christiane Paul. (part 1 of 4)

40,000 GML Tags, by Theo Watson and F.A.T. Lab

GML, or Graffiti Markup Language, is an open file format designed to store graffiti motion data.  It’s been used in projects like the EyeWriter, Graffiti Analysis, DustTag, and Laser Tag, all of which have been uploading GML tags to000000book.com, a site/database where graffiti writers are encouraged to share tags and computer programmers are invited to create new visualizations based on the resulting data.  The project aims to bring together two seemingly disparate communities that share an interest hacking systems, whether through code or in the city.

Currently, there are over 40,000 tags in the #000000book database.  For the F.A.T. GOLD exhibition currently on display at Eyebeam, artist Theo Watson redrew these tags back into physical space.  The cascading display showcases tags in chronological order, from the very first ones drawn by Tempt1, to the most recent captured by a variety of GML-powered apps.

http://thecreatorsproject.vice.com/blog/for-the-open-source-graffiti-movement-digitized-tags-are-just-the-beginning

Timestamp: 1366306140

40,000 GML Tags, by Theo Watson and F.A.T. Lab

GML, or Graffiti Markup Language, is an open file format designed to store graffiti motion data.  It’s been used in projects like the EyeWriter, Graffiti Analysis, DustTag, and Laser Tag, all of which have been uploading GML tags to000000book.com, a site/database where graffiti writers are encouraged to share tags and computer programmers are invited to create new visualizations based on the resulting data.  The project aims to bring together two seemingly disparate communities that share an interest hacking systems, whether through code or in the city.

Currently, there are over 40,000 tags in the #000000book database.  For the F.A.T. GOLD exhibition currently on display at Eyebeam, artist Theo Watson redrew these tags back into physical space.  The cascading display showcases tags in chronological order, from the very first ones drawn by Tempt1, to the most recent captured by a variety of GML-powered apps.

http://thecreatorsproject.vice.com/blog/for-the-open-source-graffiti-movement-digitized-tags-are-just-the-beginning

johncagehpschd:

In 1977, Cage was commissioned by Rolling Stone magazine to write 49 Waltzes for the Five Boroughs.  Its score—a map of New York City overlaid with 49 colored triangles, positioned using chance operations—could be played by anyone visiting the geographic locations of the three points on one single triangle.  As it turns out, step one of the prescribed addresses on Waltz #12 happens to 21st street between 10th and 11th Avenues in Manhattan, the exact location of Eyebeam, and HPSCHD’s upcoming performances there on May 3 and 4.  If that isn’t coincidence enough, the cultural producers at Avant Media recently launched the 49waltzes.com project, which dynamically hosts videos and photographs of the waltz locations in a way that works almost too easily for the internet, as if Cage had some say in the development Instagram or Vine.  Avant Media now invites you to share your experience of the upcoming HPSCHD performances.  By uploading your photo or video to their site, you will simultaneously be participating in another Cage composition altogether.  Cage often programmed his works to be played over one another. (Image by Randy Gibson, from 49waltzes.com).  Visit the Waltz #12 page here.

Timestamp: 1366039033

johncagehpschd:

In 1977, Cage was commissioned by Rolling Stone magazine to write 49 Waltzes for the Five Boroughs.  Its score—a map of New York City overlaid with 49 colored triangles, positioned using chance operations—could be played by anyone visiting the geographic locations of the three points on one single triangle.  As it turns out, step one of the prescribed addresses on Waltz #12 happens to 21st street between 10th and 11th Avenues in Manhattan, the exact location of Eyebeam, and HPSCHD’s upcoming performances there on May 3 and 4.  If that isn’t coincidence enough, the cultural producers at Avant Media recently launched the 49waltzes.com project, which dynamically hosts videos and photographs of the waltz locations in a way that works almost too easily for the internet, as if Cage had some say in the development Instagram or Vine.  Avant Media now invites you to share your experience of the upcoming HPSCHD performances.  By uploading your photo or video to their site, you will simultaneously be participating in another Cage composition altogether.  Cage often programmed his works to be played over one another. (Image by Randy Gibson, from 49waltzes.com).  Visit the Waltz #12 page here.

new-aesthetic:

قلب is a new programming language exploring the role of human culture in coding. Code is written entirely in Arabic and is the basis of code calligraphy, classical algorithms rendered as traditional Arab art.

 قلب: لغة برمجة

(via ramseynasser)

Timestamp: 1365694207

new-aesthetic:

قلب is a new programming language exploring the role of human culture in coding. Code is written entirely in Arabic and is the basis of code calligraphy, classical algorithms rendered as traditional Arab art.

 قلب: لغة برمجة

(via ramseynasser)