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07 February 2006 by nathaniel

Relational Clothing – collecting fragments

RC2 by Jose Ferreiera
RC2 by Jose Ferreira

As covered by Carine Zaayman on Artthrob, the Very Real Time project launched its second phase at the Drill Hall (Point Blank Gallery, downtown Jozi) this past weekend, hosting, "Two panels of selected speakers… chaired by Gregg Smith and … an intervention by Johannesburg based artist, Jose Ferreira."

Ferreira’s RC2 (courtesy of the artist):

This work consists of a series of journeys and a garment. Appearing to be an ordinary overall, it unfolds and translates into various forms, provoking unusual relationships. It is at once a vessel for shelter, a protective unit, and gatherer of ephemera. … The focal point of the work is to extricate new readings of social interactions in this urban context that may have become accepted, habitual and even suspicious. The work is an exploration of urban survival, self-preservation, and a dreaming of possibilities. … My intention is to make a work that embraces the multiplicity of an urban Johannesburg experience.

 

Read and see more.

Posted in art, art and tech, carine zaayman, news and politics, pop culture, reviews, south african art, stimulus, technology, uncategorical ·

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01 February 2006 by AJ

The next generation of piracy – content producers fear ¨the bio-hole¨

¨There is a new form of music piracy running rampant around the world, and your children could be involved placing you at risk of legal persecution¨ – the recording industry association of America (RIAA) warned parents to keep watch of their children´s activities in order to curb this new form of theft, stating ¨we will not hesitate to use the full power of the law to punish those who steal our intelectual property and parents will be held accountable for the actions of their children.¨
The RIAA´s South-African counterpart ASAMI echoed these thoughts.

Explaining the details of the crime in a press release, the RIAA stated that this new form of piracy goes beyond digital media exploiting an innate bug in the way music is heard to make copies into the human brain itself.
¨Basically, when you remember something, your brain has made a copy of it. Copyright prohibits copying anything without our consent and ergo, this is a crime.¨
The RIAA fears that there have been untold lost CD sales already due to people stealing music in this manner (coloqially known as ¨remembering¨). What is worse says the release, is that often people will remember a song they hear on the radio or television or at a friends house, and then decide they don´t like it – costing the artists a sale they would have had, had the person not remembered how bad the song was.
On top of this memory inately allows music to be utilized in other illegal ways including derivative works (known in the vernacular as ¨humming¨ a song).
While it is true that memory doesn´t always provide perfect quality copies, and people will often only remember parts of a song some people do in fact remember songs in their entirety, especially if they copy it to their brains multiple times as memory has the ability to fill in missing bits each time a song is received, the RIAA is frank about it all: Everytime somebody remembers a song, he is guilty of thef, and besides what about people with photographic memories ?

Appart from legal action against perpetrators, the RIAA is simultaneously pursuing legislative and techincal measures to curb the activity. A bill currently pending before the US congress will demand and extension of the CSSCA and DMCA protections to the human brain.
¨Basically if the bill passes, it will be legally required for all newly-made human babies to have genetic protection software installed which will prevent music from being remembered¨ said sponsoring congressman Geemee Cash.
On the technical front Sony-BMG is taking the lead with a new generation of CD copyprotection. A sony programmer who wishes to remain anonymous describes the system:
¨Essentially we are coating all new cd´s with a thin-layer of crystalized LSD, when heated by the CD-laser the LSD reverts to liquid and then to gass form, the listener then breaths it in, effectively destroying their abillity to remember the song they heard.¨

These moves however have not been without controvercy, a spokesman for the EFF responded by declaring that remembering music is an explicity allowed copyright exception under section 17 of the US copyright law, the fair-use statute and similiar laws internationally. The EFF went further to declare the RIAA´s plans for genetically preventing music-memory as a ¨gross invasion of privacy¨ stating that ¨how people choose to make new human beings is one of the most sacredly private matters in the law¨.
When asked about SONY/BMG´s proposed new LSD-layer copyprotection the EFF spokesman snorted and said ¨That´s just crazy, it´s even worse than that whole rootkit debacle – and besides it wouldn´t work ! The last time Japanese engineers mixed drugs and music we ended up with Kareoke !¨

***********
PS. This post is a parody… (I hope).

Posted in AJ Venter, art and tech, music, news and politics ·

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29 January 2006 by nathaniel

Next Wave Festival March 2006/ Call for work

There’s another great art / curatorial project coming up from Cape Town-based Ralph Borland, and this one is calling for work for him to bring to a big ole festival in Australia:

I am a South African artist looking to document or exhibit your work – artwork, design and technology projects, tools, appliances, activist campaigns, sampled objects, as well as music, games, publications and other media – for my contribution to the Next Wave Festival in Melbourne, Australia, in March 2006. The Next Wave Festival this year is part of the cultural program of the 2006 Commonwealth Games, and it takes as its provocative theme the old name for the games – ‘Empire Games’.

I am acting as artist and curator, producing an exhibition and social space called ‘Sideshow’ within and around a shipping container, one of over 30 in a large warehouse space. My focus is on creative tactics for resistance and subversion.

For more information and images around the project, examples of the kind of projects I’m looking for, and information about myself and my work, please consult this link:

http://ralphborland.net/art/nextwave.html

For practical reasons, most projects will be represented through printed and digital documentation, except where the work does not need to be returned – there aren’t sufficient funds available for the transportation of work.

Please contact me at the email address below with information about your work. No large attachments to start with please. I look forward to hearing from you! I would also appreciate you passing this email on to appropriate forums and individuals.

Please contact me as soon as possible, and before the 20 February 2006.

Ralph Borland

His sideshow call for work uses has keywords:
progressive technology. appropriate technology. subversive technology. illegal technology/ political art. resistance art. subversive art. illegal art. brand art/ hacking. modding. sampling. remaking. satirising/ politricks. tricknology/ gallery. workshop. museum. carnival. clubhouse. shebeen. sideshow

Posted in art, art and tech, news and politics, pop culture, re-blog tidbits, south african art, stimulus, technology, theory ·

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27 January 2006 by nathaniel

Jew Talk, I listen

My friend Amy sent me this great email about how the Jewish conversational style (especially those from, ahem, New York and of, ahem I say again, Eastern European descent) is about engaging through emotional story-telling, interrupting, and changing topics. See, I am listening and I do love you. Check it:

Interrupters? Linguist says it’s Jewish way
DEBORAH N. CYMROT
Washington Jewish Week

WASHINGTON — The next time someone accuses you of interrupting, you might want to explain that you are not being rude: You’re actually engaging in "high-involvement cooperative overlapping."

Cooperative overlapping — talking as another person continues to speak — is typical of Jewish conversational style, according to linguist Deborah Tannen, and can be a way of showing interest and appreciation.

Tannen had a standing-room-only crowd of more than 200 nodding and laughing with recognition as she delineated typically Jewish patterns of conversation during a recent lecture on Jewish conversational style at Georgetown University.

Tannen, 54, is a professor of linguistics at Georgetown and author of many scholarly and popular works, including the best-selling "You Just Don’t Understand: Women and Men in Conversation" and "That’s Not What I Meant!: How Conversational Style Makes or Breaks Relationships."

Jewish conversational style is not a precise term. Not all Jews exhibit its characteristic features and not all people who exhibit them are Jewish, according to Tannen. But the pattern of conversation found among many Jews from New York and its environs, especially those of Eastern European origin, differs in significant ways from that of most non-Jewish Americans from the South, Midwest and West.

In an interview prior to her talk, Tannen discussed her analysis of Jewish-style conversation. Along with cooperative overlap, she said Jewish-style conversational patterns include a "fast rate of speech, the avoidance of inter-turn pauses and faster turn-taking among speakers."

In a conversation among Jews, participants find the simultaneous talk and quick turn-taking unremarkable; they interpret silences and pauses as evidence of lack of rapport and/or interest.

But those not accustomed to that style, according to Tannen, may see such active listening behaviors as rudeness, verbal hogging and lack of interest in the speaker. The very characteristics that promote good conversation among the in-group can create discomfort or hostility among mixed groups.

Beyond that, people make judgments about the personality of individuals based on conversational style. According to Tannen, negative stereotypes of New York Jews as pushy may be the result of clashing linguistic patterns rather than character flaws.

Different conversational styles of couples, where one person is Jewish and the other is not, may contribute to the initial attraction, Tannen said. Someone quieter may seem mysterious and wise, while somebody more talkative can seem articulate and smart. But over time, the differences in style, particularly in close relationships, can be difficult. "You think you had good intentions, and they think you had bad ones," she said.

Other features of Jewish conversational style include a preference for personal topics, abrupt shifts of topics, unhesitating introduction of new topics and persistence in reintroducing a topic if others don’t immediately pick up on it.

Jews also tend to tell more stories in their conversations, often in rounds; dramatize the point of a story instead of putting it into words; and focus on the emotional experience of it.

People whose regional and ethnic background promotes a different way of conversing may not "get the point" of these rounds of story-sharing with no real plot, she said. They also may find the expectation of personal revelation unnervingly intrusive.

Tannen believes the sound of Jewish-style talk — pitch shifts, changes in loudness, exaggerated voice quality and accent — can signal concern and empathy as well as reinforcing a shared ethnic background among Jews. Or they may put off people more used to a restrained, less expressive way of speaking.

As participants milled around or were leaving following the talk, clusters of people analyzed their own talk.

"There were four of us chatting together and we started laughing," said Julie Epstein, the coordinator for Jewish graduate student programming at Georgetown. "We suddenly saw just how much we were using Jewish conversational style."

Who loves you and who do you love?

Posted in me, news and politics, pop culture, re-blog tidbits, stimulus, uncategorical ·

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20 January 2006 by nathaniel

SAartsEmerging launch and party!

SAartsEmerging launches today with a feature on Pretoria-born and bred Donna Kukama. In celebration, we’ve planned a cash bar hootenanny for emerging artists and art appreciators, alike:

9 February, 2006
Berlin Bar in Johannesburg, South Africa
7th street, Melville (across and down from Xai Xai)
18:30ish til whenev
Features a site-specific installation by our own Bronwyn Lace!

SAartsEmerging.org is dedicated to featuring emerging South African artists, curators and arts personalities who are not generally, or have not yet been, written about – but who should be. SAartsEmerging lacks any pretense of objectivity, and preference is not only given to Gauteng locals and friends, but also to early-career non-stars working conceptually, and across disciplines. We’re always looking for writers who want to feature burgeoning artists… More information on us or contributing? Visit the site!

SAartsEmerging features a new producer every third Friday of the month. 17 February will see our next feature, Bronwyn Lace, a Johannesburg-based, installation artist, just before her YAP solo show in Durban.

Hope to see you at the party!
Simon Gush, Bronwyn Lace & Nathaniel Stern
http://www.saartsemerging.org

Posted in art, art and tech, bronwyn lace, me, news and politics, pop culture, re-blog tidbits, simon gush, south african art, stimulus, technology, theory ·

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19 January 2006 by franci

Important Art Competition!

Hereby all artists are invited to submit proposals:

The Department of Science and Technology is building new premises
which will be in serious need of artworks!

The objective of this competition is to acquire innovative, outstanding artwork, that communicates the theme of science and technology, for our new art collection to be on display in our new Head Office in Pretoria.

Here is your chance to sell your artwork, and be eligible for a prize as well!

COMPETITION INFORMATION
The competition details and entry forms may also be obtained from the website http://www.dst.gov.za/artcompetition
or via email from ntombentsha.mavuso@dst.gov.za.

Posted in art, news and politics, south african art ·
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