Lorem ipsum dolor sit amet, consectetur adipiscing elit. Aliquam eget nisi velit. Quisque rhoncus placerat accumsan. Cras luctus, ligula vel tincidunt vulputate, libero tellus sodales tellus, eu dapibus nunc enim in mauris. Suspendisse potenti. Proin tristique dolor ac nisl consequat elementum. Nunc eget augue eget massa viverra pellentesque. Nulla a dolor neque. Cras hendrerit elit non mauris interdum viverra. Proin enim mi, sodales eu aliquet et, laoreet sit amet magna. Donec dapibus, ante sed pretium mollis, urna turpis interdum libero, a hendrerit neque odio at nulla. Sed dapibus lacus in massa porta ornare. Maecenas in eros vitae dui tempor consequat a ut ipsum.
Integer vitae orci molestie purus scelerisque congue. Integer dignissim molestie fringilla. Pellentesque eros metus, condimentum non facilisis quis, rhoncus vestibulum turpis. Aenean ac nunc risus. Aenean a mauris nec nibh molestie vestibulum nec vel turpis. Fusce convallis libero ac metus hendrerit luctus. Sed dapibus venenatis congue. In dignissim, dolor ut porta aliquam, justo neque vestibulum dolor, ut pharetra nunc lorem porta urna. Mauris sollicitudin, odio sit amet luctus interdum, libero nisl scelerisque enim, eget interdum elit purus eget tortor. Cum sociis natoque penatibus et magnis dis parturient montes, nascetur ridiculus mus. Etiam eget diam nibh. Vivamus gravida dignissim nunc, eu sodales urna hendrerit eget.
Nam vehicula pulvinar tempor. Mauris ut augue leo. Praesent ac nulla metus, eu vulputate nisi. Class aptent taciti sociosqu ad litora torquent per conubia nostra, per inceptos himenaeos. Aliquam pretium mi eu quam accumsan posuere. In at justo eget tortor pretium pharetra vel sed enim. Pellentesque in tortor sed est lobortis tincidunt a sit amet lectus. Mauris bibendum dui vitae libero imperdiet sit amet placerat augue scelerisque. Cum sociis natoque penatibus et magnis dis parturient montes, nascetur ridiculus mus. Nulla imperdiet, nunc at blandit tempor, eros enim consequat ante, eu laoreet dolor felis in sapien. Suspendisse vitae sapien risus, at rutrum urna. Aliquam a mollis libero. Nulla vehicula, ante a euismod dictum, eros risus semper purus, ac pharetra ligula urna sit amet felis. Sed eu purus ut velit sodales fringilla nec ut est. Ut ultrices semper gravida. Nullam quis purus vitae lacus cursus porttitor quis a tellus. Nulla et urna diam. Donec lectus justo, lobortis a vulputate sed, convallis vel mi.
Nam dolor justo, cursus id suscipit eget, placerat id ante. Nunc accumsan, nunc a aliquam ultricies, lectus velit semper ligula, ac interdum lacus nibh ut nisi. Cum sociis natoque penatibus et magnis dis parturient montes, nascetur ridiculus mus. Suspendisse fringilla pellentesque felis, in venenatis odio consequat nec. Mauris vitae aliquam tellus. Mauris viverra purus ultrices tortor suscipit molestie. Suspendisse libero lacus, dictum eu facilisis in, tristique id lectus. Vivamus imperdiet tincidunt facilisis. Donec rhoncus laoreet nibh fringilla sagittis. Pellentesque ante felis, tincidunt vel pharetra ac, tincidunt eget diam.
Fusce lorem lorem, luctus in semper eget, hendrerit sed turpis. Fusce pellentesque, mauris sed venenatis cursus, leo neque vehicula nibh, ut faucibus purus ante sed risus. Class aptent taciti sociosqu ad litora torquent per conubia nostra, per inceptos himenaeos. Duis nec luctus tortor. Pellentesque justo turpis, viverra vitae condimentum id, porttitor at urna. Suspendisse ac tristique sem. Sed lobortis, augue nec venenatis faucibus, tellus tellus porta orci, a ultrices dui nibh id ligula. Duis consequat euismod ligula. Morbi sit amet tincidunt nunc. Nulla a odio nec lorem ultricies blandit. Aenean neque diam, fermentum sit amet mollis pretium, vulputate non purus. Nulla rhoncus scelerisque erat, vel placerat orci eleifend et. Ut at arcu vitae augue gravida posuere. In pulvinar dolor eu tellus rhoncus volutpat. Sed porta mi ut eros tempor volutpat.
22.7.11
29.6.11
Letter from Campbell Soup Product Manager to Andy Warhol (1964)
Letter from Campbell Soup Product Manager to Andy Warhol (1964): "In light of Andy Baio's settlement with Jay Maisel, this 1964 letter from the Campbell Soup product manager to Andy Warhol serves as the ideal way to respond to transformative works:
Transcript:
via Daniel Jalkut, Dan Abrams
"
Transcript:
Campbell SOUP Company
CAMDEN 1, NEW JERSEY
May 19, 1964
Mr. A. Warhol
1342 Lexington Avenue
New York, New York
Dear Mr. Warhol:
I have followed your career for some time. Your work has evoked a great deal of interest here at Campbell Soup Company for obvious reasons.
At one time I had hoped to be able to acquire one of your Campbell Soup label paintings - but I'm afraid you have gotten much too expensive for me.
I did want to tell you, however, that we admired your work and I have since learned that you like Tomato Soup. I am taking the liberty of having a couple of cases of our Tomato Soup delivered to you at this address.
We wish you continued success and good fortune.
Cordially,
(Signed, 'William P. MacFarland')
William P. MacFarland
Product Marketing Manager
via Daniel Jalkut, Dan Abrams
"
8.6.11
[-empyre-] Call for e-action | Venice Biennale
[-empyre-] Call for e-action | Venice Biennale: "
Ricardo Dominguez wrote on -empyre-: In order to maximize impact and attempt to gain visibility for nameless, anonymous, stateless, non-represented global citizens at the Venice Biennale, we have decided to conduct a virtual sit-in to augment our flash-mob to be conducted on June 4 2011.
YOU CAN PARTICIPATE IN THE VIRTUAL SIT-IN ON THE WEBSITE OF THE VENICE BIENNALE BY DOWNLOADING THE ZIP FILE ATTACHED, SAVING THE 4 SMALL FILES ON YOUR COMPUTER, AND OPENING THE FILE ENTITLED INDEX.HTML IN YOUR BROWSER (MOZILLA, INTERNET EXPLORER)
- THEN GO TO “ENTER THE E-PERFORMANCE ACTION NOW”
- HIT OK
- ADJUST SPEED ACCORDING TO INTERNET CONNECTION
- LEAVE BROWSER OPEN AND COMPUTER ON ALL DAY STARTING AT 10:00AM CEST JUNE
4 2011
This will essentially overload the Venice Biennale’s website with traffic and is completely legal, and will serve to underscore the importance of our cause in a more direct and obvious way. Please find attached another zip file containing project manifesto, images, and texts in Italian and Spanish. Also help spread the word and feel free to pass this email around to relevant eyes!
For those participating in the actual flash-mob action in Venice in the coming days please stay in touch and we support all your actions (there are many of us!!!)
In solidarity,
Stateless Immigrants
Twitter: @stateless_
Tumblr: http://statelessimmigrantspavilion.tumblr.com/
31.5.11
Cao Fei "Play Time" at Lombard Freid Projects
Cao Fei "Play Time" at Lombard Freid Projects: "Cao Fei 'Play Time' at Lombard Freid Projects:
Play Time Fingerboard Park Installation, 2011
East Wind, 2011 video (still)
Shadow Life, 2011 video (still)
With Shadow Life, a work composed of three distinct narrative sequences Cao Fei invokes the days of childhood. The narrative draws upon the remembrance of a Chinese Spring Festival Gala celebration that ran on China’s official Central Television...In East Wind, the charmingly naive smile of Thomas, the British cartoon train engine, is superimposed on the front of a Chinese-manufactured Dong Feng truck (literally “East Wind” truck), which barrels across urban highways and overpasses with a single mission: to deliver refuse from a construction site in the city to a trash dump on its outskirts. The title of this work has clear historical overtones centring on Mao Zedong’s famous declaration that the east wind prevails over [the] west wind. This statement is associated with Mao’s so-called Third Front strategy, which sought to protect China from invasion by foreign powers by building industrial installations in western China. China’s “East Wind” (Dong Feng) automobile was founded in 1969 as a part of this campaign. But today, as this Western face is married to the Dong Feng truck, the power relationship between the two take on an indeterminate quality, just like the plight and pattern we see in the real world...
With a reconstituted urban model, Cao Fei’s installation work, Play Time perpetuates the open space created in RMB City, which offers a mode and mentality for more people to enjoy and participate in. In this fingerboard skate park sculpture, the buildings that Cao Fei uses as references come from all over the world. They are all charged with authoritarian and mystical connotations and take the form of some sort of belief. In this rapidly modernizing world, there are fewer and fewer buildings representative of ancient civilizations. Nonetheless, their core spirit never disappeared and therefore they still need to be dissolved. By simply sliding one’s fingers over the skateboard and travelling across the inclined surfaces and domes of these buildings, viewers may just be able to reach that objective. - Lombard Freid Projects
"
With Shadow Life, a work composed of three distinct narrative sequences Cao Fei invokes the days of childhood. The narrative draws upon the remembrance of a Chinese Spring Festival Gala celebration that ran on China’s official Central Television...In East Wind, the charmingly naive smile of Thomas, the British cartoon train engine, is superimposed on the front of a Chinese-manufactured Dong Feng truck (literally “East Wind” truck), which barrels across urban highways and overpasses with a single mission: to deliver refuse from a construction site in the city to a trash dump on its outskirts. The title of this work has clear historical overtones centring on Mao Zedong’s famous declaration that the east wind prevails over [the] west wind. This statement is associated with Mao’s so-called Third Front strategy, which sought to protect China from invasion by foreign powers by building industrial installations in western China. China’s “East Wind” (Dong Feng) automobile was founded in 1969 as a part of this campaign. But today, as this Western face is married to the Dong Feng truck, the power relationship between the two take on an indeterminate quality, just like the plight and pattern we see in the real world...
With a reconstituted urban model, Cao Fei’s installation work, Play Time perpetuates the open space created in RMB City, which offers a mode and mentality for more people to enjoy and participate in. In this fingerboard skate park sculpture, the buildings that Cao Fei uses as references come from all over the world. They are all charged with authoritarian and mystical connotations and take the form of some sort of belief. In this rapidly modernizing world, there are fewer and fewer buildings representative of ancient civilizations. Nonetheless, their core spirit never disappeared and therefore they still need to be dissolved. By simply sliding one’s fingers over the skateboard and travelling across the inclined surfaces and domes of these buildings, viewers may just be able to reach that objective. - Lombard Freid Projects
"
24.3.11
Jeff Koons Must Die! (by Hunter Jonakin)
Jeff Koons Must Die! (by Hunter Jonakin): "
This is one of the funniest pieces I've seen in a long while!
'Jeff Koons Must Die!!! is made up of a fabricated 80’s style stand-up arcade cabinet, and a simulated digital environment presented in a first-person perspective. Viewers must pay twenty-five cents to play the game and the virtual environment is traversed with a joystick and two arcade buttons. The premise of the video game is to allow the viewer to virtually destroy work by the artist, Jeff Koons.'
http://hunterjonakin.com/koons.php
"
'Jeff Koons Must Die!!! is made up of a fabricated 80’s style stand-up arcade cabinet, and a simulated digital environment presented in a first-person perspective. Viewers must pay twenty-five cents to play the game and the virtual environment is traversed with a joystick and two arcade buttons. The premise of the video game is to allow the viewer to virtually destroy work by the artist, Jeff Koons.'
http://hunterjonakin.com/koons.php
27.2.11
“Tiananmen SquARed” by 4 Gentlemen
“Tiananmen SquARed” by 4 Gentlemen: "
Although it has been more than twenty years since Tiananman Protest took place in 1989, the authority persistently uses all means erasing the facts that Chinese people pursued democracy in this democratic and anti-corruption movement. In China, nowadays, young people are not aware the courageous actions, such as ‘Tank Man’ and erecting ‘Statue of Democracy’ facing Mao’s portrait on Tiananman Tower, emerged during student movement of 1989. Nonetheless, history should not be forgotten.
Information and communication technologies have inspired people to express their thoughts freely. We as artists, taking advantages of the development of mobile phone technology and smartphone applications, have revived the history of 1989 Tiananman Protest that has tremendous implications waiting for further examinations by our contemporaries.
Deploying Augmented Reality application, Layar (free download at http://layar.com) for Android and iPhone, we have created virtual ‘Statue of Democracy’ and ‘Tank Man,’ and installed those monumental icons on the physical sites where the real incidents took place. Any visitor, domestic or from abroad, can find those virtual monuments on Tiananmen Square and nearby East Chang’an Street with an iPhone or Android mobile device, as well as taking picture with them.
The images above indicate the real incidents, making process of Statue of Democracy & Tank Man (F1 & F3), the Augmented Reality on mobile devices (F2 & F4), and the exact locations of the AR work on Google map (F5).
Audience Experience:
Once the audience downloads the Layar Augmented Reality Browser to their Android or iPhone, he or she could stand in Tiananmen Square and point their device’s camera towards the northern side of the plaza where the Goddess of Democracy was originally erected. The application uses geolocation software to superimpose a computer generated 3D graphic of the Goddess of Democracy at the precise GPS coordinates of the original, enabling them to see the augmentation integrated into the physical location as if it existed in the real world. Similarly, the Tank Man augmentation would be placed on Chang’an Avenue northeast of Tiananmen Square in the exact location of the original event. Both augmentations will appear in the original scale and orientation.
Technical Requirements:
1. Hardware: iPhone or Android Phone
2. Software: Layar, free download at http://layar.com
11.2.11
Sangue do Meu Sangue
Blood Wars é uma instalação de arte-ciência onde as células brancas do sangue de duas pessoas diferentes são colocadas umas contra as outras em um "torneio" que pretende ver qual dos dois participantes tem o sistema imunológico mais forte. Apesar do conceito e tecnologia diferentes, remete vagamente ao trabalho Gaza Strip, que Wagner Garcia apresentou em Emoção Art.ficial 2.0 - Divergências Tecnológicas.
4.11.10
China E-motion
A bienal Emoção Art.ficial foi matéria da Art World Magazine, uma das principais revistas de arte contemporânea da China, com tiragem de 60.000 exemplares mensais (nada mal para uma revista de arte, mas para os padrões chineses, nunca se sabe).
16.9.10
EA5 no WMMNA!
Antes tarde do que nunca... A simpática Régine Debatty, editora do site We Make Money Not Art, esteve no Brasil a convite do FILE e deu uma passada na exposição Emoção Art.ficial 5.0 - Autonomia Cibernética. Suas impressões (neutras, objetivas) foram ao ar no dia 14 de Setembro. Mesmo que seja "póstumo", o post é vital, pois é uma visão extrínseca de como o Brasil concebe e produz exposições de arte tecnológica.
1.9.10
Mecânico e Digital
Tecnologias mecânicas são baseadas em noções de autonomia, como o (auto)móvel, por exemplo. Elas pressupõem um uso instrumental em que os seres humanos são agentes autônomos que as utilizam conforme seus planos. Por outro lado, as tecnologias digitais funcionam em um nível muito mais complexo, onde os papéis são invertidos. É o reino do imprevisto, da chance, do inesperado e do entrópico. De acordo com a segunda lei da termodinâmica, a quantidade de entropia de qualquer sistema isolado tende a aumentar com o passar do tempo. Quando um dos sistemas (o mecânico) interage com outro (o digital), a energia de ambos tende a alcançar um equilíbrio. E é exatamente na interação entre os dois que surge uma interface, o “locus” onde fantasias de diversos tipos se realizam… (statement de @kuja para o HTTPVideo 2010)
17.8.10
Fixion (ficção/fixação)
Uma das principais características de Walmor Corrêa, artista plástico baseado em Porto Alegre, é a geração de universos fictícios, representados com toda a glória dos detalhes (biológicos, mais especificamente). Esse tipo de produção desperta uma cornucópia de lembranças, como os dinossauros em meio a arquitetura monolítica de Jean Pascal Flavien e a exposição The Science of Imagination. O artista fará palestra e apresentação de portfólio no próximo sábado, 21 de agosto, às 19h30, no Itaú Cultural, como parte do evento Invisibilidades III.
13.7.10
G Force
Força-Tarefa Neo-Cibernética (Paul Pangaro e Guilherme Kujawski na última mesa do Simpósio Emoção Art.ficial 5.0 - Autonomia Cibernética)UPDATE (20/07): "G" de Gordon Pask
UPDATE (idem): I wanted to let you know that I put up a page about my involvement with Itaulab. While I mentioned Itaulab a few times, the heading is "Emoção Art.ficial's Cybernetic Triology". (Ok, Paul!)
27.6.10
My Own Private Oklahoma
O Município do Rio de Janeiro selecionará profissionais das artes plásticas, audiovisuais, design e/ou arquitetura que elaborem trabalhos explorando novas mídias e tecnologias, conforme Aviso publicado no D.O. do Município de 24/06 à pág. 176.
Serão selecionados artistas para participarem do processo de seleção para a Bienal Mundial de Criatividade 2010, a ser realizada na cidade de Oklahoma (EUA) em Outubro de 2010 com o tema New Processes, New Approaches, New Art (Novos Processos, Novas Abordagens, Nova Arte). Dos artistas indicados, 02 serão selecionados pela organização da Bienal e terão seus trabalhos expostos na cidade de Oklahoma durante 03 meses, além de integrar o material gráfico e de identidade visual do Fórum Mundial de Criatividade (a ser realizado na mesma ocasião).
A data final para recebimento será o dia 05 de Julho de 2010.
A Bienal é realizada pela rede Flanders DC (Districts of Creativity), e trabalha a relação entre novas tecnologias e os novos processos de criação artística, a partir de novos materiais e novas mídias, com o objetivo de introduzir os novos conceitos e abordagens estéticas resultantes desses processos.
Os projetos deverão ser encaminhados à Subsecretaria Municipal de Patrimônio Cultural, Intervenção Urbana, Arquitetura e Design, situada à rua Gago Coutinho, nº 52, Laranjeiras - 3º andar - Rio de Janeiro / RJ.
Maiores informações através do email centrocariocadesign@gmail.com
Maiores informações com Paula de Oliveira Camargo (Secretaria Municipal de Cultura
Prefeitura da Cidade do Rio de Janeiro) [+55 21 2555 8042 . 9348 4452]
Serão selecionados artistas para participarem do processo de seleção para a Bienal Mundial de Criatividade 2010, a ser realizada na cidade de Oklahoma (EUA) em Outubro de 2010 com o tema New Processes, New Approaches, New Art (Novos Processos, Novas Abordagens, Nova Arte). Dos artistas indicados, 02 serão selecionados pela organização da Bienal e terão seus trabalhos expostos na cidade de Oklahoma durante 03 meses, além de integrar o material gráfico e de identidade visual do Fórum Mundial de Criatividade (a ser realizado na mesma ocasião).
A data final para recebimento será o dia 05 de Julho de 2010.
A Bienal é realizada pela rede Flanders DC (Districts of Creativity), e trabalha a relação entre novas tecnologias e os novos processos de criação artística, a partir de novos materiais e novas mídias, com o objetivo de introduzir os novos conceitos e abordagens estéticas resultantes desses processos.
Os projetos deverão ser encaminhados à Subsecretaria Municipal de Patrimônio Cultural, Intervenção Urbana, Arquitetura e Design, situada à rua Gago Coutinho, nº 52, Laranjeiras - 3º andar - Rio de Janeiro / RJ.
Maiores informações através do email centrocariocadesign@gmail.com
Maiores informações com Paula de Oliveira Camargo (Secretaria Municipal de Cultura
Prefeitura da Cidade do Rio de Janeiro) [+55 21 2555 8042 . 9348 4452]
9.6.10
Artist Leonel Moura creates a new version of the theatre play RUR with robots
R.U.R., Rossum’s Universal Robots is a classic playwright written by Karel Capek in the 20's in which the word ROBOT was coined. Men and robots clash resulting in the extermination of mankind and the emergence of robots as a new dominant species. The play was always staged with human actor’s transvestite as robots. Moura’s new version displays, for the first time, real robots interacting on stage with human actors. RUR, the birth of the robot, debuts in August at the Itáu Cultural, São Paulo, Brazil. It will tour in Brazil, Spain, Portugal and probably other countries.
15.5.10
Pecha Kucha - São Paulo
Nota-se certa volição da parte de habitantes da cidade de São Paulo por maneiras alternativas de exposição acadêmica, iniciativas em direção a um formato novo de apresentação de conceitos, hoje praticamente restrita a leituras de papers em simpósios. Por exemplo, no último dia 13, aconteceu no Masp o GloNet (parceria entre Vivo arte.mov, FutureEverything e British Council), evento inovador que merece atenção especial. No mesmo, ocorreram apresentações relâmpagos (nomeadas pela organização de "apresentações fogo-cruzado"), uma referência ao formato Pecha Kucha Night. A franquia do PKN-SP pertence a um dos integrantes do Itaulab, já que o escritório baseado em Tóquio não cede os direitos a pessoas jurídicas, apenas a físicas. Para que o formato ganhe escala na cidade, o integrante do Itaulab está abrindo mão da franquia para pessoas supra-instituição. Interessados, favor escrever para kuja@cibercultura.org.br
(UPDATE 27/05): Bastão passado. O PKN-SP agora é de outrem...
(UPDATE 27/05): Bastão passado. O PKN-SP agora é de outrem...
6.4.10
ACT NOW!
Notícia da semana: The Center for Advanced Visual Studies and the MIT Visual Arts Program have merged to become the MIT Program in Art, Culture and Technology (ACT). (...) The program considers artistic practice to be knowledge production. (...) ACT curriculum includes courses in 'Production of Space,' 'Interrogative Design,' 'Networked Cultures,' and 'Contemporary Curatorial Practice,' among others. (...) ACT Faculty are world-renowned with active, international careers and a strong interest in cross-disciplinary debate, research, and modes of production (e.g. Ute Meta Bauer, Krzysztof Wodiczko, Joan Jonas, Gediminas Urbonas, Antoni Muntadas). (...) ACT research fellows and affiliates engage with students and faculty on long term thematic research clusters in the field of art, culture and technology, such as 'Interrogative Design Group,' 'Mobile act lab,' 'Artistic research and transdisciplinary collaboration,' and 'Future of Body/Multiple Senses' to name a few. The program's 'Future Archive Project' is transforming the archives of the Center for Advanced Visual Studies at MIT into an active location for research and scholarship in issues of archiving and disseminating time-based works of art. ACT is well situated for this project given the 40-year history of the Center for Advanced Visual Studies in the creative use of new and technologically advanced materials, and in collaboration among artists, historians, technologists, and others in the MIT community and beyond. No evento de celebração, haverá um Pecha Kucha com estudantes e uma apresentação de portfólio de Joan Jonas, introduzida por Okwui Enwezor.
17.3.10
Internet Open Source
Ronaldo Lemos anuncia que:
A Fundação Mozilla fará o lançamento amanhã, dia 18 de março, às 16h, do projeto Mozilla Drumbeat. O diretor executivo da Fundação Mozilla, Mark Surman, estará presente no lançamento, realizado em conjunto com Centro de Tecnologia e Sociedade. O Mozilla Drumbeat está construindo uma rede global de empreendedores, apoiando projetos para promover uma Internet mais aberta e participativa. Mais informações aqui e aqui. Para participar, basta enviar um e-mail confirmando com Bruno Magrani (bmagrani@mozilla.com)
16.3.10
Deus Curador
Simplesmente a melhor sacada sobre a vastamente discutida atividade curatorial. Encontrado na sessão de notas do livro “On Belief” de Slavoj Zizek:
In the contemporary art enterprise, the curator seems to play a role uncannily similar to that of Christ: is he not also a kind of “vanishing mediator” between the Artist-Creator (“God”) and the community of the public (“believers”)? This new role of the curator in the last decades hinges on two interconnected processes. On the one hand, works of art themselves have lost their innocence: an artist no longer just spontaneously creates and leaves to the other the interpretation of what he does – the reference to the future (theoretical) interpretation is already part of his immediate artistic production, so that the temporal loop is closed, and the author’s work is a kind of preemptive strike, dialoguing with, responding in advance to, its future imagined interpretations. These potential interpretations are embodied in the figure of the Curator; he is the transferential subject for the artists themselves – he does not simply collect preexisting works, these works are already created with the Curator in view, their ideal interpreter (more and more, he even directly solicits or employs artists to execute his vision). On the other hand, it is a fact that, at today’s large exhibitions, the broad public no longer has the time to “slow down” and really immerse itself in the vast collection of works – the problem here is not so much that they do not get what is going on, that they need some explanation, but that today’s artworks can no longer be directly experienced with the intensity that bears witness to a strong impact of the work itself. So, for this broad public, the Curator is not so much the interpreter as the ideal passive viewer who was still able to “slow down,” to take time and experience all the works as a passive viewer. The public then plays the intellectually well-versed spectators who, while having neither the time nor the ability to fully immerse themselves into the proper passive experience of the work, exchange witty quasi-theoretical remarks or opinions, leaving the direct experience of the work to the Curator as the Subject Supposed to Experience the work of art.
9.3.10
20.2.10
Guerras Sônicas + @itaulab
Acima, imagem de Sound Pavilion (2009), de Doug Aitken, instalação sonora localizada em Inhotim, MG, que consiste num furo no solo de 200 metros de profundidade onde foram instalados microfones de alta sensibilidade que captam ruídos do interior da Terra. Enquanto isso, no Arizona, recentes experiências mostraram que, ao ouvirem o som amplificado de seu próprio ruído, o besouro do olmo (Scolytus scolytus) foge da árvore que está devorando. Com a devida licença poética, bem que os ruídos de Aitken poderiam neutralizar terremotos. PS: para atualizações mais rápidas, acompanhe o canal do Blog do do Itaulab no Twitter (@itaulab)
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