Posted by Steve Dietz on November 6, 2006 12:51 PM
For More Information Contact:
Rich Weiss
Ingenuity Festival
office: 216-589-9444
Rich[at]ingenuitycleveland[dot]org
FOR IMMEDIATE RELEASE
LAST CHANCE FOR NORTHEAST OHIO ARTISTS TO CONNECT WITH REGION担 TECHNOLOGY FOR INGENUITY 2007
The Ingenuity Festival of Art & Technology will show off exciting technologies to Northeast Ohio artists in the Scott Auditorium of MetroHealth Medical Center November 9th at 7:00 pm. The purpose of Ingenuity痴 Northeast Ohio Tech Expo for Artists is to inspire our region痴 artists to create work incorporating the cutting-edge technologies coming out of our corner of the state.
Ingenuity痴 Tech Expo for Artists will feature technologies from Western DataCom, Imalux Corporation, NASA Glenn Research Center, Cleveland Clinic and more.
Posted by Steve Dietz on November 6, 2006 10:37 AM
Nominated for the transmediale.07 Award:
Herman Asselberghs (be): 'Proof of Life'
Tim Shore (uk): 'Cabinet'
Antoins Schmitt (fr): 'Still Living'
Honourable Mentions:
Aram Bartholl (de): Random Screen
Richard Chartier / Taylor Deupree (us): Specification.Fifteen
Kurt D'Haeseleer (be): Scripted Emotions
Liu Wei (cn): A Day to Remember
Stefan Zlamal (at): Heinrich und Mary-Jane
transmediale.07 Award Jury: Inke Arns (Dortmund), Eva de Groote
(Ghent), Miguel Leal (Porto), Ellen Pau (Hongkong) und Mike Stubbs
(Melbourne).
Aaron Bartholl received an Honorable Mention in the transmediale 07 awards for his mesmerizing Random Screen. According to his website,
Random Screen is one of a series of low-tech screen projects that was originally inspired by the Blinkenlights media fa軋de of the Chaos Computer Club in Berlin.
Posted by Steve Dietz on November 5, 2006 12:55 PM
Jason Mittel
The Third Kind of Heat: 30 Rock & Overcooked Synergy
In Media Res
making MediaCommons
October 24, 2006
via GrandTextAuto
MediaCommons launched recently, describing itself as "a new kind of media studies press for the digital age --" One particularly interesting aspect is the In Media Res feature of "fragments from the media stream revolved in critical conversation."
One of the early pieces for In Media Res, Holding Out For a Hiro, is by Henry Jenkins on the Hiro Nakamura character from Heroes. (Pictured is a different comment by Jason Mittel on 30 Rock.) When I brought Jenkins to the Walker Art Center in 2001 to present, brilliantly, "The Star Wars We'd Like to See," I remember talking with him afterwards about a "book" he had written that analyzed various media sources, but no publisher would touch it at the time because of copyright issues.
MediaCommons has a statement on fair use, which is an important principle I wish more institutions were willing to stand by.
MediaCommons is a strong advocate for the right of media scholars to quote from the materials they analyze, as protected by the principle of "fair use." If such quotation is necessary to a scholar's argument, if the quotation serves to support a scholar's original analysis or pedagogical purpose, and if the quotation does not harm the market value of the original text -- but rather, and on the contrary, enhances it -- we must defend the scholar's right to quote from the media texts under study.
Congrats to MediaCommons on its content, process, and consdiered attitude.
Young-hae Chang Heavy Industries
The End
http://www.yhchang.com/END_CREDITS_CREDITOS_FINAIS.html
For those of us who read the footnotes before the text and must sit through movie credits to the bitter end, Young-hae Chang Heavy Industry'sThe End, commissioned for the Sao Paulo Biennial, is just the story for you.
Jerry Salz
Marcia Tucker
Village Voice
October 27, 2006
http://www.villagevoice.com/art/0644,saltz,74857,13.html
I only met Marcia Tucker a couple of times, but as a young something or other, every time I wandered into the New Museum, it was an exploration and often a revelation. And "A Career Based Almost Exclusively on Bad Reviews" has to give hope of some kind.
Marcia Tucker was a hero of do-it-yourself aesthetic rabble-rousing. She changed the art world a little bit謡hich is a lot. On October 17 Tucker died at her home in Santa Barbara, California. She was 66 and had been living with cancer.
Tucker's story is legend in the art world: In 1975, as curator for the Whitney Museum of American Art, she organized a Richard Tuttle exhibition. The show was trounced by critics; museum trustees and higher-ups turned on her; she was canned. Then, Tucker did something people often talk about doing but rarely do. She started her own place called the New Museum, an upstart institution dedicated to contemporary art that was the last alternative museum of its kind formed in New York. Nudge-nudge, young disgruntled museum people.
Tucker created something lasting, chaotic, and effective. As she put it in 1998, "Richard Tuttle ruined my life." Of course, she meant that in a sense he made her life. Tucker also excelled at ending things. In 1997, after 22 years of directing her beloved institution, she did another thing people don't do much: She voluntarily stepped aside. Nudge-nudge, museum people everywhere, and I suppose also art critics. Like I said, Tucker was a hero. Jerry Salz
