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Miroslaw Balka's The Unilever Series, How It Is

Carmen :: thinking somewhere between the work I am doing with composers in Mexico and the work with Ghana Think Tank. Intervention and relational aesthetics are two terms that came up often in discussion at Eyebeam. Interaction and mapping are two concepts that we consider in composing interactive music. I wonder what these two processes could say to each other. I found this interesting discussion about relational aesthetics on
Sociologically.net.

 
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Carmen :: preparing discussion topics for the Composing Interactive Multimedia residency I will be leading in Morelia, Michoacan, Mexico with composers Kevin Patton and Ken Ueno. Since 4'33" we've all considered the value of silence. But as visual artists — what is the value of darkness? What can video artists, or in this case sound artists making interactive video for their compositions, learn by exploring the way we see? We can begin by considering that music has always been an audiovisual spectacle, that the visible has always been part of the practice of sharing and understanding music. Other modes of expression insinuate themselves into every manifestation of artistic creation, be it implicitly or explicitly, even when it does not result from the artist's intent.

 
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Sissu Tarka says: Take off. The desire to live/stay on islands is not inherited. In fact journeys in my childhood took place in no man’s land, sometimes arctic regions, Ural mountains, and around Mongolia. Infected by the diversity of language. Now there is the United Kingdom (actual home) ---- and Japan (imaginary virtual home). Plane associations: the death of Concorde (2003) and Wolfgang Tillmans’ 62 photographs in Concorde, artist book publ. 1997. The sky, terrorism, violence; the Dictionary of war http://dictionaryofwar.org/en-dict/videohowto. The Sine Wave Orchestra http://www.youtube.com/watch?v=FOKapm6PpAM. The silence of traffic http://www.youtube.com/watch?v=pcHnL7aS64Y&feature=related.

 
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Sissu Tarka says: The text on comon flowers and biotech-DIY I am currently writing, drifts into too many sideways. Deleuze & Guattari (1988) “The wisdom of the plants: even when they have roots, there is always an outside where they form a rhizome with something else—with the wind, an animal, human beings (and there is also an aspect under which animals...”. Recycled residencies – tree house residencies - double temporary: project Outlandia by London Fieldworks http://www.londonfieldworks.com/projects/outlandia/gallery.php
http://www.londonfieldworks.com/projects/outlandia/index.php

 
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Sissu Tarka says: Printed matter might matter from time to time to space.
Currently working on a project for/with AND http://www.andpublishing.org/window/and-window/. Still affected by Åbäke design http://www.myspace.com/abakespace. And early forms of political pamphleteering – remember the Futurists who did that air-drop of pamphlets somewhere from an aeroplane. And their manifesto in Le Figaro, 1909 . . .http://www.shafe.co.uk/art/Le_Figaro-_20_February_1909-_Futurist_Manifesto.asp. Or WIKI design. And conventions of publishing. Open books. Mallarmé, The Book http://www.art-agenda.com/shows/view/807.

 
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Sissu Tarka says: The Other Landscape........................Caught in being Mediator, mediating content, mediating practice, mediating code, mediating sonic pressures. How to invent new reference systems, avoid references, transform references into hybrid bodies - becoming reference system, microscopic?!
Dreamscape Kyoto. Zoo - rhythm. Cartoon-ised world. Clouds over Kazakhstan. Black Shoals.

http://www.blackshoals.net/ http://freee.org.uk/ http://www.dave.beech.clara.net/ (http://lessig.org/blog/bad_code/) http://www.networkedcultures.org/

 
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Sissu Tarka says: Spending Saturday afternoon in London’s financial district. Deserted streets on days like this, emptied out market places, stranded tourists (7 in total). Passing the infamous Lloyd's building, deciding to take some rounds at Norman Foster’s ‘Gherkin’ until being stopped by the security, and told “It is not allowed to cycle round this tower.” (Check out Kippenberger’s Psychobuildings, book of photographs, 1988; and Nils Norman’s The Contemporary Picturesque, 2000, an exploration into urban architecture and design and how public space is linked to, and constitutive of forms of repression. Today’s forms? Flexible, less tangible.) Leaving the district to cross Southwark bridge.
Past few days were spent on developing a text which, together with other current (actual and virtual) investigations, led me to think further about mythologies. The myth of hacking. Myths of open culture.

 
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Sissu Tarka says: How can we think of forms of activism and collectivity that operate on a quiet level, no big gestures, or revolutionary acts, but are embedded in the everyday. How would a medium such as film be able to express this? The Surface of Each Day is a Different Planet http://www.tate.org.uk/intermediaart/raqs.shtm versus ‘spectacle against spectacle’ as with Jean-Luc Godard’s British Sounds (1970) http://www.youtube.com/watch?v=1tBLQEriebs? The silence and force of Agnès Varda’s films?!

 
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Sissu Tarka says: on agenda today > social multiple sculpture - Ricardo Basbaum as early as 1994 http://www.nbp.pro.br/index.php. and Pockets of Disorder! http://www.cityprojects.org/cityprojects_content.php?id=167&i=9
(BT tower in far distance with flashing lights in night sky)