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libidinaleconomyberlin · 5 years

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Participants

Benjamin Noys is Professor of Critical Theory at the University of Chichester. His research focuses on contemporary Continental theory, cultural politics, literature, and avant-garde and popular culture. His books include Malign Velocities: Accelerationism & Capitalism, The Persistence of the Negative: A Critique of Contemporary Continental Theory, The Culture of Death and Georges Bataille: A Critical Introduction. He also edited Communization and its Discontents and has numerous essays on topics such as anti-critique, the aesthetics of financial crisis, drones, time, Ballard, vampies, neurosis and Brexit.

Hannah Proctor works on revolutionary psychologies, communist neurologies and red therapies. She’s broadly interested in intersections between left-wing politics and psychology, histories and theories of radical psychiatry, and emotional histories of the Left. She’s currently a fellow affiliated with the ICI Berlin. Her forthcoming book, Psychologies in Revolution: Alexander Luria, Soviet Subjectivites and Cultural History, situates the innovative cross-disciplinary clinical research of Soviet psychologist and neurologist Alexander Luria in its politicised historical context. She is also working on a book project for Verso on the psychic aftermath of political struggle. She has an ongoing project on femininity and hardness – with the working title 'Stone Femme.’

Leon Brenner is a post-doc fellow at the University of Potsdam, specializing in the fields of Lacanian psychoanalysis, contemporary French philosophy and autism research. Brenner has previously worked on the subject of Alain Badiou’s theory of subjectivity and love. His doctoral dissertation—conducted at Tel-Aviv University and the Freie Universität, Berlin—concerned the subject of autistic subjectivity in psychoanalytic thought. Today Brenner works on the subject of the anthropological philosophy of autism at the University of Potsdam's institute for philosophy. He is a founder of the Lacanian Affinities Berlin group (laLAB) and teaches courses on the subject of psychoanalysis in Berlin.

Kerstin Stakemeier is a Professor for Art Education at the Academy of Fine Arts in Nuremberg. She has been teaching since the early 2000s in the fields of political, art, cultural and media theory, art history and on topics of artistic and political theory and practice as well as modern, postmodern and contemporary history of exhibition practice. With others she is the initiator of the long-term exhibition, magazine and discussion project Klassensprachen / Class Languages (from 2017). She has published, among others, "Painting-The Implicit Horizon" (2012) with Avigail Moss and "Power of Materials/Politics of Material” and “The Present of the Future“ (2014-16) with Susanne Witzgall. She writes among others for Artforum and Texte zur Kunst. In 2016, she published Reproducing Autonomy with Marina Vishmidt.

Jule Govrin is a philosopher; her research is situated at the interface of political theory, social philosophy, and aesthetics. She holds a PhD from the FU Berlin on the history of the theory of desire and economics. She investigated how the notion of desire is linked to economic theories in the history of philosophy. She currently works at the Philosophical Seminar at the European University of Flensburg and investigates the relationship between authenticity and authority in the political history of ideas of modernity and late modernity. She is the author, in German, of Sex, God and Capital: Houellebecq’s Subjugation between Neoreactionary Rhetoric and Post-secular Politics and, in addition to her academic work, is also active as a journalist, e.g. for »ZEIT Online«.

Luce de Lire is a ship with eight sails and she lays off the quay. A time traveller and collector of mediocre jokes by day, when night falls, she turns into a philosopher, performer and media theorist. She loves visual art, installations, video art etc. She could be seen curating, performing, directing, planning and publishing (on) various events. She is working on and with treason, post secularism, self destruction, fascism and seduction – all in mixed media.

Samo Tomšič obtained his PhD in philosophy at the University of Ljubljana, Slovenia, and is currently research associate at the Humboldt University in Berlin. (Although from next week, he will be a Professor at the Academy of Fine Arts in Nuremberg.) His research areas comprise contemporary European philosophy, structuralism and poststructuralism, psychoanalysis (Freud and Lacan), epistemology, and political philosophy. His publications include The Labour of Enjoyment: Towards a Critique of Libidinal Economy (2019), The Capitalist Unconscious: Marx and Lacan (2015). Plus two edited books, Psychoanalysis: Topological Perspectives: New Conceptions of Geometry and Space in Freud and Lacan (ed. with Michael Friedman) and Jacques Lacan. Between Psychoanalysis and Politics (ed. with Andreja Zevnik, 2015).

Dominiek Hoens is a philosopher and doctor of psychology, and teaches philosophy of art at two university colleges in Belgium. Recent publications include articles on the logic of the Lacanian ‘not-all’ (in Crisis and Critique) and on Lacan and Pascal, and a chapter on Lacan in the forthcoming Routledge Handbook of Psychoanalytic Political Theory. Currently, he is co-editing with Sigi Jöttkandt a special issue of their journal, S, on Duras and Lacan.

Julie Gaillard was recently appointed as an Assistant Professor in the Department of French & Italian at the University of Illinois. She was previously a fellow at ICI Berlin. She co-edited the volume Traversals of Affect: On Jean-François Lyotard (Bloomsbury, 2016). Her current research continues her investigation of Lyotard’s work and its import at the crossroads of philosophy, psychoanalysis, literature, arts, and politics.

Daniel Tutt is a Professorial Lecturer at George Washington University. His academic training is in philosophy and religion with a focus on contemporary continental philosophy, the history of philosophy, Lacanian psychoanalysis and ethics. His interests include Marxism and post-Marxist thought, contemporary social and political movements, political Islam, Islamophobia, Islamic philosophy, historicism and the philosophy of history and post-Lacanian thought. He has published articles on Badiou, Zizek, Islam and contributed to the recent edited volume, Sex and Nothing: Bridges from Psychoanalysis to Philosophy.

Adriana Zaharijević combines political philosophy, feminist theory and social history of the 19th century. She is a senior researcher at the Institute for Philosophy and Social Theory at the University of Belgrade, and an assistant professor at the University of Novi Sad. She is the author of more than sixty articles and two books, unfortunately not (yet) available in English – Becoming Woman (2010) and Who is an Individual? Genealogical Inquiry into the Idea of a Citizen (2014). Among other essays in English, she has a forthcoming paper on Robinson Crusoe, invulnerability and bodilessness.

Sami Khatib is an Assistant Professor of Visual Arts at the American University in Cairo. Sami's research spans the fields of Aesthetic Theory, Critical Theory, Visual Arts, Media Theory, and Cultural Studies with a special focus on the thought of Walter Benjamin. He is a founding member of the Beirut Institute for Critical Analysis and Research (BICAR). His ongoing research project “Aesthetics of the ‘Sensuous-Supra Sensuous” examines the aesthetic scope and political relevance of Marx’s discovery of the commodity form. His publications include articles on violence, pedagogy, the aesthetics of real abstraction, temporality and Walter Benjamin.

Jason Read is a Professor of Philosophy at the University of Southern Maine. He specialises in the areas of Social and Political Philosophy, 19th and 20th Century Continental Philosophy, Critical Theory, Philosophy of History, Spinoza. His two books are The Politics of Transindividuality (Brill, 2015) and The Micro-Politics of Capital: Marx and the Prehistory of the Present (SUNY, 2003). He has many articles and book chapters on topics including work, affect, precarity, Balibar, ideology and Althusser.

Vladimir Safatle holds several international appointments. Primarily, Vladimir is Professor of Philosophy and Psychology at University of São Paulo. He is also a visiting scholar at UC Berkeley. Invited professor at Université de Paris VII (Department of Psychoanalysis), Paris VIII (Department of Music), Toulouse (Department of Philosophy) and Louvain (Department of Philosophy). Fellow of Stellenboch Institute for Advanced Studies (South Africa) and formerly responsible for seminars at Collège International de Philosophie. Vladimir is the author of Grand Hotel Abyss: Desire, Recognition and the Restoration of the Subject (Leuven, 2016) and many further texts in English, as well as Portuguese and French. He is responsible for the new Brazilian edition of Theodor Adorno's complete work and is a coordinator of the International Society of Psychoanalysis and Philosophy. He has published essays on Hegel, Adorno, desire, servitude, democracy and Lacan. He is also an outspoken critic in Brazilian media of Bolsonaro and the turn to far-right politics.

Todd McGowan teaches theory and film at the University of Vermont in the US. He has just published Emancipation after Hegel: Achieving a Contradictory Revolution (2019). His previous books include Only a Joke Can Save Us: A Theory of Comedy (2017), Capitalism and Desire: The Psychic Cost of Free Markets (2016), Spike Lee (2014), The Fictional Christopher Nolan (2013), Enjoying What We Don’t Have: The Political Project of Psychoanalysis (2013), Rupture: On the Emergence of the Political (2012, with Paul Eisenstein), The Real Gaze: Film Theory After Lacan (2007), and The Impossible David Lynch (2007).

Yahya M. Madra is an associate professor of economics at Drew University, Madison, NJ. He has been a member of the editorial board of the journal Rethinking Marxism since 1998 and served as an associate editor of the journal between 2010-12. He specialises in the History of Economic Thought; International Political Economy; Political Economy and Cultural Formations; Psychoanalysis and Capitalism and Current Heterodox Approaches. He has published and co-authored articles on various issues in political economy and on the history of recent economics in edited book volumes and a number of academic journals in English and Turkish. His first book in English is LATE NEOCLASSICAL ECONOMICS: RESTORATION OF THEORETICAL HUMANISM IN CONTEMPORARY ECONOMIC THEORY from 2017.

Ceren Özselçuk is an Assistant Professor of Sociology at Boğaziçi University, Istanbul. She has recently published and co-published in journals such as South Atlantic Quarterly, Psychoanalysis, Culture & Society, Rethinking Marxism, and in edited volumes. She is on the editorial board of the journal Rethinking Marxism and also its current managing editor. She and Yahya are working on a book manuscript related to their talk today. She is also developing research on the associations among populism, neoliberalism and neo-conservatism, with a geographical focus in Turkey, and interrogating the relations between populism and contemporary forms of authoritarianism and violence, on the one hand, and the role of populist identifications both in democratic as well as neoliberal transformations, on the other.

Merritt Symes (www.merrittsymes.com) is a video artist who creates audio-visual “resonance machines” from both found and original footage. Her short films are concerned with creaturely lives, uncanny affinities, impersonal intimacies, the unraveling of forms, and the spaces between things. Dominic Pettman (www.dominicpettman.com) is Professor of Culture & Media at Eugene Lang College and The New School for Social Research. His numerous books include Sonic Intimacy, Creaturely Love, and Metagestures (with Carla Nappi).

Margret Grebowicz’s writings on mountaineering have appeared in The Atlantic, The Philosophical Salon, and the minnesota review, and she is currently writing her next book, Mountains and Desire, for Repeater. She is the author of Whale Song (Bloomsbury), Why Internet Porn Matters and The National Park to Come (both Stanford), and co-author of Beyond the Cyborg: Adventures with Donna Haraway (Columbia). She teaches philosophy and environmental humanities at the School of Advanced Studies, University of Tyumen, in Siberia.

Ania Malinowska is Assistant Professor at the University of Silesia, Poland and former Senior Fulbright Fellow at the New School of Social Research in New York, USA where she was working on a research project “Feeling(s) Without Organs. Love in Contemporary Technoculture”. She is a coeditor of (with Karolina Lebek) Materiality and Popular Culture. The Popular Life of Things (Routledge 2017), (with Michael Gratzke) The Materiality of Love. Essays of Affection and Cultural Practice (Routledge 2018), and (with Toby Miller) “Media and Emotions. The New Frontiers of Affect in Digital Culture” (a special issue of Open Cultural Studies, 2017). She has authored many papers and chapters in cultural and media studies regarding love, social norms, codes of feelings and technology.

Matthew Flisfeder is an Associate Professor of Rhetoric and Communications at The University of Winnipeg. He is the author of Postmodern Theory and Blade Runner (2017), The Symbolic, The Sublime, and Slavoj Žižek’s Theory of Film (2012), and co-editor of Žižek and Media Studies: A Reader (2014). He recently completed his new book, Algorithmic Desire: Towards a New Structuralist Theory of Social Media. He is currently working on a project that examines the aesthetics, rhetorics, and ethics of new materialist, posthumanist, and accelerationist theory.

Ben Gook is an Alexander von Humboldt Foundation Postdoctoral Fellow at Humboldt University, Berlin. He is also an honorary fellow at the School of Social & Political Sciences and the ARC Centre of Excellence for the History of Emotions at the University of Melbourne. His books include Divided Subjects, Invisible Borders: Re-Unified Germany after 1989 (Rowman & Littlefield International, 2015) and the forthcoming Feeling Alienated: How Alienation Returned in Contemporary Capitalism (Cambridge UP, 2020).

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mostlysignssomeportents · 6 years

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OPEN LETTER FROM ARTISTS, CREATIVE AND CULTURAL WORKERS

* Self-expression is a human right * * Internet censorship does not create a fair income *

Dear Members of the Parliament, We as artists, creative and cultural workers appeal to you as representatives of the European Parliament:

The proposed Copyright Directive is not in our interests. We will gain no significant revenue from it, but it will reduce our ability to create new cultural works and find audiences for it.

Take responsibility for an internet that works for cultural producers and is free from censorship, and do not agree to the EU Copyright Directive in this form. Article 11 and 13 are fundamentally against our interests.

Currently open letters are circulating that are claiming that the new directive would enable a „free“ internet by strengthening the copyright holders in relation to commercial providers and thus promote a „fairer“ form of „participation“ and „renumeration“. None of this will happen.

The directive will not lead to:

higher incomes for artists

guarantee of non-reproducibility of one’s own work

protection from theft of ideas

protection from piracy

reduce the monopoly position of the dominant group of social media companies

What it will lead to:

censorship on the internet

containment of creative exchange

transfer of the judicial sovereignty to private decision-makers

wrongful decisions due to algorithmic bias

impediment of fair procedures which then will be neither open nor individual

enablement of abuse of power through non-public decision-making processes

abusive interpretation for the own benefit of the commissioned platforms

exclusion of self-uploaded material that even meets the criteria of copyright law but categorizes as further prohibited content such as pornography, insult, depiction of violence, terrorism etc.

uncertainty and self-censorship instead of motivation to creativity and self-expression

We also want to point out that we are highly critical of how platforms cash in on unpaid labour by countless contributors – not just artists – and that we must find new models for how the revenue of these value-added processes can be redistributed more equally.

We therefore appeal to you: Say NO – vote against the Copyright Directive!

Signatories

Nora Al-Badri, artist, Berlin https://www.nora-al-badri.de/

Fahim Amir, writer, curator, artist, senior lecturer, University of the Arts, Linz

Clemens Apprich, PhD, Centre for Digital Cultures, Leuphana University, Lüneburg https://www.leuphana.de/en/university/staff-members/clemens-apprich.html

Mz* Baltazar’s Laboratory, art, technology & feminism www.mzbaltazarslaboratory.org/

Gerald Bast, president, University of Applied Arts, Vienna https://www.dieangewandte.at/en/

Aram Bartholl, artist, Berlin www.arambartholl.com

Konrad Becker, hyper media researcher and interdisciplinary content developer, initiator of Public Netbase and World Information Institute, Vienna https://world-information.net/en/ https://en.wikipedia.org/wiki/Konrad_Becker

Ulrike Bergermann, professor for media studies, University of Art, Braunschweig http://www.hbk-bs.de/hochschule/personen/ulrike-bergermann/

Željko Blaće, co-founder of MaMa (Zagreb) and ccSPORT (Berlin), Europe http://Blace.name/

Sebastian Bodirsky, filmmaker, Berlin http://sb.paqc.net/

Candice Breitz, artist, professor at University of Art Braunschweig, Berlin http://candicebreitz.net/

Andreas Broeckmann, art theorist, Leipzig/Berlin http://www.mikro.in-berlin.de/

Alina Buchberger, Dramaturgie, Kampnagel, Hamburg

Nadja Buttendorf, visual artist, founding member of Cyborgs e.V., Berlin http://www.nadjabuttendorf.com

Constant Dullaart, artist, WerkplaatsTypografie, Arnhem https://constantdullaart.com

Constant vzw, artist-run art, media and technology organisation, Brussels http://www.constantvzw.org

Karl-Heinz Dellwo, filmmaker and publisher, Hamburg http://www.bellastoria.de

Carola Dertnig, visual artist, professor at Academy of Fine Arts, Vienna https://de.wikipedia.org/wiki/Carola_Dertnig

Detlef Diederichsen, divisional director music and performing arts, Haus der Kulturen der Welt, Berlin https://www.hkw.de/en/hkw/organigramm/musik_tanz_theater/musik_tanz_theater.php

Diedrich Diederichsen, cultural theorist, professor at Academy of Fine Arts, Vienna/ Berlin https://en.wikipedia.org/wiki/Diedrich_Diederichsen

Paul Feigelfeld, researcher, curator, Vienna „UNCANNY : Artificial Intelligence & You“, MAK – Museum of Applied Arts, Vienna http://www.viennabiennale.org/en/exhibitions/detail/uncanny-values-artificial-intelligence-you/

Andreas Fogarasi, artist, writer, co-editor of dérive, magazine for urban research, Vienna https://derive.at/autoren/andreas-fogarasi/

FORUM STADTPARK, interdisciplinary space for art and culture, Graz http://www.forumstadtpark.at

Günter Friesinger, writer, curator, member of monochrom, Vienna https://de.wikipedia.org/wiki/G%C3%BCnther_Friesinger http://monochrom.at

Matthias Fritsch, visual artist, Technoviking Archiv, Berlin http://subrealic.net

Kristoffer Gansing, artistic director, transmediale festival for art and digital culture, Berlin https://transmediale.de/

Johannes Grenzfurthner, artist, filmmaker, curator, writer, member of monochrom, Vienna https://about.me/grenzfurthner http://monochrom.at

Marina Gržinić, PhD, artist, philosopher, professor at Academy of Fine Arts Vienna, researcher advisor at ZRC-SAZU Institute of philosophy, Ljubljana, http://en.wikipedia.org/wiki/Marina_Gr%C5%BEini%C4%87 http://grzinic-smid.si/

Adnan Hadziselimovic, PhD, head of department of digital arts, University of Malta https://www.um.edu.mt/profile/adnanhadziselimovic

Karin Harrasser, media theorist, curator, editor of ZfK – Magazine For Cultural Studies, professor for cultural theory, University of Art and Design, Linz http://www.ufg.at/Kulturwissenschaft.1401.0.html

Joan Heemskerk, artist, member of the artist collective JODI http://wwwwwwwww.jodi.org/

Reni Hofmüller, artist, musician, curator, founding member of mur.at, founding member and artistic director of esc media art laboratory, Graz https://esc.mur.at/

Jogi Hofmüller, artist and IT-consultant, founding member of Radio Helsinki and mur.at association for the promotion of network art, Graz https://mur.at/

Tom Holert, writer, researcher, curator, Harun Farocki Institut, Berlin http://harun-farocki-institut.org

Susanne Holschbach, PhD, art and media scientist, curator, lecturer, Berlin

Endy Hupperich, painter and lecturer, Art Academy Bad Reichenhall, Mexico City/ Germany http://www.endy-hupperich.com/

IG Kultur Vienna, representation of cultural workers & institutions, Vienna https://igkulturwien.net/

Thomas J. Jelinek, conceptual artist, director, dramaturge, curator nomad.theatre, Vienna http://nomad-theatre.eu/

Rebekka Kiesewetter, Lic. phil., art historian, economist, writer, curator, founding member of DA Institute of Applied Knowledge, Berlin https://www.rebekkakiesewetter.com/ http://www.da-institut.org

Angela Koch, Pprofessor for aesthetics and pragmatics of audiovisual media, director of MA studies in media culture and art theory, University of Art and Design, Linz http://blog.mkkt.ufg.ac.at/angelakoch/

Hubertus Kohle, professor of art history, Ludwig-Maximilians-University, Munich https://de.wikipedia.org/wiki/Hubertus_Kohle

Olia Lialina, internet artist, theorist, curator, director at the New Media Pathway programme at Merz Akademie of Art, Design and Media, Stuttgart http://art.teleportacia.org/

Johann Lurf, artist, Vienna http://johannlurf.net/

Tomislav Medak, media theorist and amateur librarian, member of Multimedia Institute/MAMA (Zagreb) and Centre for Postdigital Cultures (Coventry University) http://www.mi2.hr/ http://www.memoryoftheworld.org http://www.coventry.ac.uk/research/areas-of-research/postdigital-cultures/

Suzana Milevska, visual culture theorist, curator, principal investigator Politecnico di Milano TRACES http://www.traces.polimi.it/event/contentious-object-ashamed-subjects-exhibition/

monochrom, art-technology-philosophy-group, Vienna https://en.wikipedia.org/wiki/Monochrom

Gabriel Ben Moshe (S Moses), digital-based artist, Weimar/ Tel Aviv http://www.gabsmoses.com

Michael Murtaugh, Senior Lecturer, Experimental Publishing Master, Piet Zwart Institute, Rotterdam http://xpub.nl/

Stefanos Pavlakis, artist/ director, Berlin http://www.stefanos-pavlakis.com/

Oliver Pietsch, artist, Berlin http://www.oliverpietsch.com

p.m.k, Cultural Life Support System, Innsbruck http://www.pmk.or.at

Paul Poet, film director, journalist, media scientist, project manager, Vienna https://www.imdb.com/name/nm1301724/

qujOchÖ, art collective, Linz https://de.wikipedia.org/wiki/QujOch%C3%96

Ursula Maria Probst, curator, writer, artist, lecturer, Academy of Fine Arts, Vienna https://www.fluc.at/kunstimfluc/

Magdalena Reiter, open design & open knowledge activist https://www.magdalenareiter.at/

Roel Roscam Abbing, artist, researcher, member of https://vvvvvvaria.org/ https://roelof.info

Robert Sakrowski, curator, Panke gallery, Berlin http://www.panke.gallery/

Marius Schebella, artist and developer, head of subnet, platform for media art and experimental technologies Salzburg http://www.subnet.at

Ashley Hans Scheirl, Mag. MA, artist, professor at the Academy of Fine Arts Vienna, Berlin/Vienna http://www.ashleyhansscheirl.com

Georg Schelbert, Head of Media Library/ Department of Art and Visual History, Humboldt University, Berlin http://www.kunstgeschichte.hu-berlin.de/personen/wissenschaftliche-mitarbeiterinnen/georg-schelbert/

Elisabeth Schimana, artistic director of IMA Institute for Media Archology, St. Poelten http://ima.or.at

Nora Sdun, publisher, Textem Verlag, Hamburg http://www.textem.de/

Judith Siegmund, professor for contemporary aesthetics, State University of Music and the Performing Arts, Stuttgart http://www.judithsiegmund.de

Sumugan Sivanesan, researcher/ writer/ anti-disciplinary artist, Berlin/ Sydney http://sivanesan.net/

Domagoj Smoljo, artist, !Mediengruppe Bitnik https://wwwwwwwwwwwwwwwwwwwwww.bitnik.org/

Cornelia Sollfrank, PhD, artist and researcher, Berlin http://artwarez.org/ https://en.wikipedia.org/wiki/Cornelia_Sollfrank

Felix Stalder, writer and researcher, member of the technopolitics group Vienna, professor for digital cultures and network theories at the University of the Arts, Zurich http://felix.openflows.com

Hito Steyerl, filmmaker, writer, Berlin https://en.wikipedia.org/wiki/Hito_Steyerl

Axel Stockburger, PhD, artist, assoc. prof. for art and cultural theory, Academy of Fine Arts, Vienna http://stockburger.at/

Nina Stuhldreher, visual artist, reality researcher, neurodiversity activist, Vienna/ Berlin http://blog.mkkt.ufg.ac.at/wp-content/uploads/2018/12/netzaktivismus_LV-2.jpg

Kathrin Stumreich, visual artist, Vienna http://www.kathrinstumreich.com/

Winnie Soon, MA, MSc, Ph.D, Assistant Professor Department of Digital Design and Information Studies, Aarhus University http://aestheticprogramming.siusoon.net/

Peggy Sylopp, artist and computer scientist, Berlin http://peggy-sylopp.net

Tamiko Thiel, freelance media artist, Munich http://www.tamikothiel.com

Magdalena Tyzlik-Carver, Assistant Professor in Digital Design and Information Studies, Aarhus University

Wolfgang Ullrich, art theorist, writer, Leipzig https://de.wikipedia.org/wiki/Wolfgang_Ullrich_(Kunsthistoriker) https://www.digitale-bildkulturen.de/ ideenfreiheit.de

Yvonne Volkart, researcher, lecturerer, Academy of Art and Design, Basel https://www.fhnw.ch/de/personen/yvonne-volkart

Carmen Weisskopf, artist, !Mediengruppe Bitnik,Berlin https://wwwwwwwwwwwwwwwwwwwwww.bitnik.org/

Thomas Willmann, author, Munich

Mick Wilson Artist/Educator, University of Gothenburg, Gothenburg Sweden

Marlies Wirth, Curator Digital Culture & Design Collection, MAK – Museum of Applied Arts, Vienna http://mak.at/

Florian Wüst, film curator, publisher, curatorial team of transmediale, Berlin https://transmediale.de/

Martin Zellerhoff, photographer, fair pay activist, Berlin http://www.ich-krieg-weniger.de

http://fairpaynotfilters.eu/

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lacrimis · 6 years

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Karl Meissl or Carl Meisl

Carl Meisl (June 30, 1775 in Ljubljana - October 8, 1853 in Vienna), was an Austrian official and playwright, a contemporary of Johann Nestroy, Franz Xaver Tolds, Josef Alois Gleichs and Josef Kilian Schickhs.

After the Matura in Ljubljana Meisl went into civil service. He became a Fourier and progressed to k.k. Accountant and Field War Commissary.

The completion of his career was the appointment to the Accounts Council of the Marine Department of Pre-war accounting. As such, he retired in 1840.

Meisl was next to Adolf Bäuerle and Josef Alois Gleich one of the most important representatives of the Viennese folk comedy before Ferdinand Raimund. Meisl was also known for his parodies and travesties of serious dramas and operas.

For the solemn reopening of the Josephstädter Theater on October 3, 1822 Meisl wrote the Festival The Consecration of the house, to which Ludwig van Beethoven composed the incidental music.

Carl Meisl died in Vienna at the age of 78. *

Works:

Othellerl, the Moor of Vienna or The Healed Jealousy (1806)

The Croats in Zara. Acting (1814)

The marriage through the goods lottery. Local comedy (1817)

The funny Fritz. Fairy Tale with Song (Posse) (1818)

The abduction of the princess Europa Mythological caricature in 2 acts. Vienna (1820)

The fairy from France or the torments of a Hagestolzen. Magic Game with Song - Vienna (1822)

The Black Woman (parody of the Opéra comique La dame blanche by Boieldieu for the Theater in der Josefstadt 1826)

Moisasura's Sorcery (1827, parody of F. Raimund's Moisasur). Reprint (text with commentary), ed. R. Reutner. Vienna: Lehner 1998. (Raimund-Almanach 1, 1998) *

Literature:

Constantin von Wurzbach: Meisl, Karl. In: Biographical Encyclopedia of the Empire of Austria. 17. Part. Imperial Royal Court and State Printing, Vienna 1867.

Anton Schlossar: Meisl, Karl. In: General German Biography (ADB). Volume 52, Duncker & Humblot, Leipzig 1906.

Otto Rommel: The Old Viennese Folk Comedy. Schroll, Vienna 1952.

B. Sting: Meisl Karl. In: Austrian Biographical Lexicon 1815-1950 (ÖBL). Volume 6, published by the Austrian Academy of Sciences, Vienna 1975.

Jürgen Hein: Folk piece. From buffoon play to social drama of the present. Beck, Munich 1989.

#karl meissl #carl meisl #cemetery #graveyard #tombstone #grave #tomb #austria #wien #europe

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lindsaynsmith · 6 years

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The Man Who Kept Yugoslav Independent Cinema Going

The Man Who Kept Yugoslav Independent Cinema Going https://ift.tt/2S0X46y

The Man Who Kept Yugoslav Independent Cinema Going

A retrospective at the MoMA offers a rare glimpse into the manifold art of the half-Slovenian, half-Macedonian image-maker, Karpo Godina.

Litany of Happy People. Courtesy of Karpo Godina.

Director of photography, screenwriter, film director and also editor, Karpo Godina is the humanist cogwheel that for over fifty years has kept the anomalous machine of (post-)Yugoslav independent cinema going, in directions none has ever been able to predict. Creative exuberance and insolence have constituted the essence of a regional production still criminally underrated, not least because underground directors in Yugoslavia were among the very few to be censored on both sides of the Iron Curtain. Though less prominent than filmmakers like Dušan Makavejev or Želimir Žilnik, Karpo Godina has intersected and nourished the cinema of his colleagues in an ongoing testament to his artistic generosity, uncompromising vision and anti-authorial vocation. Films like Žilnik’s Early Works (1969) would not be the same without his photography, which forever captured the visionary lights of the Yugoslavian ‘Black Wave.’ A small retrospective at the Museum of Modern Art, coinciding with the exhibition Toward a Concrete Utopia: Architecture in Yugoslavia 1948–1980, will afford a rare glimpse into the manifold art of this half-Slovenian, half-Macedonian, once Yugoslavian image-maker.

Like many people from his generation, Godina was raised on a peculiar film diet that after Tito’s breakaway from Stalinist hegemony included old American movies, one of which, Bathing Beauty (1944), he used for the opening of his 1982 film Red Boogie. This partly explains the aesthetic unorthodoxy that still characterizes his and his colleagues work. When still studying, Godina founded with some friends the ‘Odsev’ cineclub at the Ljubljana Academy in 1962, part of a then-thriving scene of ‘amateur’ filmmakers that would later coalesce into the infamous Yugoslavian ‘Black Wave’: a derogatory term coined by the regime describing what Godina himself prefers to call ‘New Yugoslav Cinema.’

His early experimental shorts from 1965–67 not only offer an insight into Godina’s playful craft, but transport the spectator into the earthly modernism of ‘60s Yugoslavia—so far removed from the prejudicial image of the grey socialist bloc. Here Godina transposes the electrifying mood of the streets, the cafes and just plain daily life through both photography and editing which, having been realized by the same person, enfold in symbiotic relation. Some of these early shorts, like Anno Passato, were even edited in-camera. The hand-held immediacy of his early works gradually gave way to his trademark tableaux, where after having framed the canvas in front of his static camera he fills it with action, diagonally, vertically and horizontally. Contemplation thus happens on two levels, in constant dialectical contrast, on the one hand the spectator is drawn by the immaculate symmetry of the frame while on the other is stimulated by the absurdist movements taking place within. Exemplary in this respect is one of his most celebrated films, at least abroad, Zdravi Ljudi Za Razonodu (Litany of Happy People), where Godina gathers in front of his camera the multi-confessional and poly-ethnic precariousness of Yugoslavia. The Yugoslavian national motto “Fraternity and Unity” is subversively questioned, as six different ethnic minorities parade in front of his camera cheerfully singing how much they love each other. In the Vojvodina region where the film was shot, over thirty different ethnic groups lived together and yet separately, Godina having chosen the most numerous communities for his oblique, ethnographic musical. Twenty years before the country was to be lacerated by a brutal, internecine war, the director was already highlighting the fragility of inter-ethnic coexistence in a land which has historically represented the frontier between occidental and oriental influences. The film ends with the lapidary sentence “let the Eastern Block as whole/be buried deep in a hole.”

The Raft of Medusa. Courtesy of the Slovenian Cinematheque.

The situation for independent filmmakers in Yugoslavia was singular, on the one hand they were not subjected to any form of censorship (except in a very few and boundary-pushing cases) and their films were allowed to national and international festivals, but did not receive wider distribution. “Our region wasn’t hermetically sealed as one commonly assumes,” Godina noted, which for local filmmakers meant exposure to both eastern and western new waves, aesthetic cross-breeding and autonomous elaboration of a vast, unorthodox palette. Conversely, filmmakers from all the world would went to Yugoslav festivals to present their films. It was during one of these festivals in Belgrade that Godina recruited a few of his colleagues for the omnibus film I Miss Sonia Heine (1971). Tinto Brass, Miloš Forman, Frederick Wiseman, Mladomir Djordjevic, Paul Morrisey, Buck Henry, and Dušan Makavejev were all given by the filmmaker a set of restrictions. The camera had to be static and only film one thing, the duration was not to exceed 3 minutes and the camera was the same for everyone. Each director had to include the sentence “I miss Sonia Heine” in his film. Godina then edited the whole things together. Paul Morrisey met on this set the protagonist of his Flesh for Frankenstein (1973), Srdjan Zelenovic, who would also end up on the cover of Vogue. The party apparatus of the Union of Communists stated: “not only do we invite the most decadent filmmakers from the West to our country, moreover Karpo facilitates the realisation of their decadent projects on Yugoslav costs.”

In 1972 Godina received an internal memorandum forbidding him to direct films in any of the Yugoslav Republics. Thankfully he could shoot and edit, so his colleagues made sure he continued to make a living with cinema. In 1980, on the eve of Tito’s death the atmosphere was already loosening and the director managed to have his first directorial project in eight years greenlighted by TV Belgrade and Viba Film, a production company from Ljubljana. Splav Meduze (The Raft of Medusa, 1980) is a fictional recreation of the avant-garde scene in 1920s Yugoslavia when Serbian Dadaists and Surrealists attempted to stir a struggling population, then mostly rural, still recovering from WWI. As Godina himself has suggested, the film, despite its historical setting, was very much a take on that crucial moment for the history of communist Yugoslavia. “Those who knew how to read between the lines could see it all,” said the director about what was effectively his first feature length film. Splav Meduze in fact also tackles the co-optation of radical art at the hands of the establishment, a theme as relevant in socialist Yugoslavia as it is in the democratic western world. Which is precisely the vital strength of Godina’s work and the New Yugoslav Cinema more generally, the ability to challenge the aesthetic and political restrictions that thwart creativity under any political regime, be it of the centralized or democratic kind. Unfortunately, it is a lesson that couldn’t be timelier, now that western democracies, after having exercised their liberal superiority complex, are falling on by one into the darkness of neo-totalitarians.

Karpo Godina plays October 19–25, 2018 at New York's Museum of Modern Art.

via The Daily Notebook https://ift.tt/KPhYBm October 19, 2018 at 04:05AM

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classicalguitartrends · 3 years

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Danica Koren Outstanding Educator Award

Danica Koren comes from the Neuvirt music family. She attended primary and secondary musicschool in Maribor, in the class of prof. Mira and Mirko Petrača. After graduating, she continued hereducation at the Academy of Music in Ljubljana, in the class of prof. Ciril Veronek and Slavko Zimšek,where she also graduated. During her studies, she was regularly employed as a member of the SNGMaribor…

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#danica koren violin #imka violin competition #outstanding educator awards #violin awards

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fubarexpo · 6 years

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/’fu:bar/ 2018

Select:

Exhibition

Performances

Lectures

Workshops

SAT Oct 6th

8pm – /’fu:bar/ 2018 EXPO & FESTIVAL OPENING @ Gallery Siva [AKC Medika, Pierottijeva 11, Zagreb]

8pm – Sabato Visconti [US] – #Glitchbooth [interactive installation @ Siva]

9pm – Lovely Insomnia [HU] – Live Set/DJ Set [performance @ Siva]

SUN Oct 7th

6pm-10pm – Exhibition @ Siva

7pm – Ramiro Polla [BE] – FFglitch [lecture @ Siva]

8pm-10pm – Mark Klink aka srcXor [US] – 3d glitching [teleworkshop @ hacklab01]

MON Oct 8th

6pm-10pm – Exhibition @ Siva

2pm-5pm – Holographic_thought_process [FR] – Video Dirty Mixer [workshop @ hacklab01]

6pm – Nikša Gligo [HR] – Can glitch music be music at all? [lecture @ Siva]

8pm – Magno Caliman [NL] – screenBashing [performance @ Siva]

TUE Oct 9th

6pm-10pm – Exhibition @ Siva

2pm – Random Pixel Order [FR] – The Archive [open studio @ Siva]

6pm – Ingeborg Fülepp [HR] – The history of artistic usage of errors in film, video and digital techniques [lecture @ Siva]

8pm – FRGMNT [DE] – SSB - Sequenced Noise Beauty [performance @ Siva]

WED Oct 10th

6pm-10pm – Exhibition @ Siva

2pm-5pm – FRGMNT [DE] – SNU noise machine [workshop @ hacklab01]

6pm – Magno Caliman [NL] – Error making and "not-knowing": some particularities of the relation between artists and programming languages [lecture @ Siva]

8pm – Paul Vivien [FR] – 99% [performance @ Siva]

THU Oct 11th

6pm-10pm – Exhibition @ Siva

6pm – ROUND TABLE @ Siva

8pm – Nada Hasan [EG] – Experimental Desires [safe passage] [performance @ Siva]

FRI Oct 12th

6pm-10pm – Exhibition @ Siva

6pm – GUIDED EXHIBITION TOUR @ Siva

8pm – Tabache & Lady oN [IT] – cHroma flux [performance @ Siva]

9pm – “Ondes noires” screening & FESTIVAL CLOSING @ Siva

Sabato Visconti [US] – #Glitchbooth SAT Oct 6th – 8pm [interactive installation @ Siva]

#Glitchbooth> is a live interactive video installation where participants have their best selves captured in 1-to-2 minute video portraits. The video portraits are glitched using a corrupted DivX encoder and processed for live screening so that participants can see their glitch selves. Modeled after the photo booths found in weddings and events, #Glitchbooth considers "Selfie Culture" as a social practice that is conditioned by the structures of digital technologies and distribution channels.

Sabato Visconti — a Brazilian-born photographer and new media artist based in Western Massachusetts. He was born in São Paulo, grew up in Miami, and studied Political Science at Amherst College. Sabato’s work seeks to reconfigure traditional understandings of photography for the post-internet era, where photographic and cinematic practices become absorbed by digital processes, hybridized media, online networks, and machine intelligence. His work captures the subject in the face of ecological turbulence driven by the dysfunctions of vast impersonal systems. Sabato began experimenting with glitch processes in 2011 with the help of a defective memory card that randomly wrote zeroes on JPEG files. Since then, his work with glitch and digital media has been awarded the ArtSlant Prize IX and has been shown in places like Tate Britain, ICA Boston, SPRING/BREAK Art Show in New York City, LACDA, the FILE Festival in São Paulo, as well as galleries throughout the world. His work has also been published in TIME Magazine, WIRED, The New York Times, AI-AP’s "Latin American Fotografia 4" Anthology, and in Photographer’s Forum annual "Best of Photography" books for eight straight years. sabatobox.com

Lovely Insomnia [HU] SAT Oct 6th – 9pm – Live Set/DJ Set [performance @ Siva]

Gábor Hufnágel — a Hungarian electronic music composer/producer. He’s currently studying electronic music and digital arts at University of Pécs. He describes his music as a fusion of polyrhythms, rich textures and field-recordings. His process often involves algorithmic techniques and aleatoric elements.

During his studies he was influenced by the works of the 20th century electroacoustic composers but he always felt the contemporary experimental music scene closer to him. His upcoming debut album (from which he will play a live set at /’fu:bar/) would like to explore the relation of these two and contribute to abolish the boundaries, elitism and controversy which still surrounds these topics. His works are also heavily emotion-centered, dynamic in terms of tempo as he also tries to unfold the possibilities of contrasts in music.

Ramiro Polla [BE] – FFglitch SUN Oct 7th – 7pm – [lecture @ Siva]

FFglitch is a precision multimedia editing tool based on FFmpeg. When you glitch a file using a hex editor, it's like getting a tattoo with a radioactive axe. You might get some cool results, but you have very high chances of dying from blunt trauma or some cancerous genetic mutation. FFglitch, on the other hand, is more like genetic engineering. You manipulate your genes to naturally grow your tattoo. FFglitch produces valid bitstream, so Facebook or YouTube won't choke on your files. It is so precise it can barely be considered glitching at all...

Ramiro Polla — likes hacking things. He was an FFmpeg developer for 5 years, but now he got better... ffglitch.org

Mark Klink aka srcXor [US] – 3d glitching SUN Oct 7th – 8pm-10pm – [teleworkshop @ hacklab01]

Demonstrating methods for glitching .obj files, using text editors and spreadsheets. Mark will also discuss the standard triangle and edgeloop patterns that are used to form most 3d models and then demonstrate remeshing techniques which can ultimately produce more interesting glitches. If time is available, we’ll discuss other 3d file formats and ways they might be glitched.

Mark Klink — has been and done many things: swept floors, worked in a factory, been an athlete, a minor government official, a lifeguard, a computer programmer, and a traditional print maker. For twenty years he taught children and other educators how to use computers. But the thing he likes best (beside family) is making curious pictures. srcxor.org

Holographic_thought_process [FR] – Video Dirty Mixer MON Oct 8th – 2pm-5pm – [workshop @ hacklab01]

Building of a video dirty mixer, which "mixes" two analog video sources the bad way, resulting in a glitched output. A good case study to talk about composite sync signal and how messing with it can yield wonderful results.

Bastien Lavaud — imagines and creates electronics devices for arts. Audio, video and DIY enthusiast, he shares his creations on his website by providing information on how to build them, and makes demonstration of it in the realisation of video clips/VJing under the alias Holographic Thought Process. syntonie.fr

Nikša Gligo [HR] – Can glitch music be music at all? MON Oct 8th – 6pm – [lecture @ Siva]

The answer to this question depends on what we consider music. Looking back in history we find the expressions like musica mundana, musica humana, and musica instrumentalis. But the meaning of musica there is equal to harmonia, i.e. accord and has nothing to do with the narrower meaning of harmony in the tonal theories. My aim here is to point out that glitch music belongs to all these kinds of music which do not imply traditional, constant determinants of music as art. Glitch music belongs to the same group as "furniture music" (Erik Satie), "paper music" (Josef A. Riedl), "noise music" (Italian futurists), "prose music"/"music to read" (Dieter Schnebel), "eye music" (Luciano Berio), "son organisé" (Edgard Varèse), "organization of sounds" (John Cage), "sound art"... If we want to avoid "sound art" as something that doesn’t belong to music in the most general sense, then we are obliged to think about music in plural ("musics"). Glitch music would then be just one of them with its own theory, aesthetics and meaning.

Nikša Gligo — born in Split in 1946. Croatian musicologist. He graduated in English and comparative literature from Zagreb University (1969) and in musicology from Ljubljana University (1973). He later studied with Koraljka Kos at Zagreb University (MA 1981) and with Andrej Rijavec at Ljubljana University, gaining the PhD in 1984 with a dissertation on problems of new music. He was awarded scholarships to study at the universities of Cologne, Berlin (with Carl Dahlhaus and Rudolf Stephan) and Freiburg (with Hans Heinrich Eggebrecht). He has taught at the Zagreb Academy of Music since 1986. He is the ordinary member of the Croatian Academy of Arts and Sciences and of Academia Europaea in London. Gligo is concerned with the aesthetics, semiotics and terminology of 20th-century music and the use of computers in musicology. His project on the standardization of 20th-century Croatian music terminology resulted in his book Pojmovni vodič kroz glazbu 20. stoljeća, which is relevant to both musicology and linguistics, and for which he received the Croatian National Award in the Humanities.

Magno Caliman [NL] – screenBashing MON Oct 8th – 8pm – [performance @ Siva]

screenBashing is a live coding piece, where audio and visual materials are programmed in real time during its performance. It utilises SuperCollider (a sound oriented programming language) for it's sound components, and C (a general purpose programming language) for it's visual elements. By using the very basic functionality, present in pretty much all programming languages, of printing characters on the screen back to the user, the visuals are created by printing characters such as backslashes and underlines in rapid succession, and at the same time freezing the whole system several times per second, creating the illusion of animated motion; something neither C nor the printing function were originally intended to do. (...) After a certain threshold, the system becomes erratic, up to a point where it is no longer possible neither to gain control, nor to foresee the end of the performance, which happens at the onset of the machine processor capability, when it indubitably fails and crashes, or there is no alternative but to force shut both the visual and audio generators. The current version of the performance, to be played at fu:bar, adds a new layer of error, with the use of a laptop not connected to a power outlet. The amount of charge left in the battery at the beginning of the performance is chosen in order to determine the duration of the piece, which ends with the involuntary shut down of the machine.

Magno Caliman — originally trained as a classical composer at the conservatory, but with a background as a hardcore / death metal guitarist, now present himself as a sound artist and multimedia performer, with a focus on the intersection between art and technology. In particular, two specific practices have guided almost entirely the processes in his works for the last few years: the construction, modification and manipulation of electronic circuits; and the embracing of programming languages as places for poetical speculation. vimeo.com/magnocaliman

Random Pixel Order [FR] – The Archive TUE Oct 9th. – 2pm – [open studio @ Siva]

Random Pixel Order is a project started in 2015 by Clara R/ and Guillaume Cartis - a crossover collective between IT and micro-edition. The project aims to bring the two closer and comprehend how they can mutually develop. Torn between glitch / dev / analog hacking on the one hand and illustrations / graphic novel / zine on the other, the collective choses to do both. The Archive is a digital art zine collection, every publication with its little background story, a particular technique used (sometimes multiple). The collection is open to digital art in general and holds a multitude of techniques - glitch (sonification, 3D glitches, pixel sorting,...), creative coding, web found images, bitmap and MS Paint drawings, scanner movement, digital collage... Different print techniques are also used - some are fully digital prints, some are screenprint or riso, others mix printing techniques. The entire collection of 50 zines will be presented at /’fu:bar/ 2018. Anyone involved with the festival is invited to participate to author a new zine on the spot.

Clara R/ — founded RandomPixelOrder in 2015 with Guillaume Cartis while she was an undergraduate student in mathematics and computer science in Bordeaux, France. Seeing that much code everyday and being fascinated by mathematical functions, she couldn't keep herself from trying to apply those new knowledges to something visual and fun. She experimented on different techniques along the time, going from classic 2D glitch and datamoshing at the very beginning to generative coding and 3D glitch. During this few years, Clara has been implicated on creating projects that build the bridge between zines and computer. Today, as the collective is exploring new physical supports, Clara is opening herself to more interactive techniques as Arduino and video game making. Now she continues her master degree in graphic computer science, robotic and video game while making posters and fanzines. Guillaume Cartis — after a few self-published zines, founded RandomPixelOrder in 2015 with Clara Rigaud aiming to create a bridge between digital and zine making. Exploring different glitch art techniques, he introduced himself to 3D, video editing and film making. In 2016 he joined Disparate, an associative zine store, where he works on Bordeaux Zinefest organisation and workshops. During those years he started to get into risography, screen printing, scenography and awkward electronic music. facebook.com/randompixelorder/

Ingeborg Fülepp [HR] – The history of artistic usage of errors in film, video and digital techniques TUE Oct 9th – 6pm – [lecture @ Siva]

The twentieth century and the beginning of the twenty-first can be labeled as a century of media art. Not only filmmakers, but also painters, sculptors, graphic artists, architects, stage designers and many others have been experimenting with media technologies since its very beginning. This lecture will present a brief historical review of the use of media technology imperfections as an artistic expression. By using the example of Media in Motion Berlin-Zagreb GbR (Ingeborg Fülepp and Heiko Daxl, 1990 to 2012) video production, the lecture will present a multiplicity of artistic image editing approaches, which were realized by a symbiosis of analogue film, video and digital errors in specific video works. At the end of the lecture, visitors will be able to see a selection of the best works of Media in Motion art production.

Ingeborg Fülepp — Born in Zagreb, lives and works in Rijeka, Zagreb and Berlin. Studied film editing (at the Academy for Theatre, Film and Television in Zagreb; today Academy of Dramatic Art - ADU) and post graduate studies, film, video and interactive media at Harvard University (Ed.M) and at Massachusetts Institute of Technology, The Media Lab. Taught film editing at the Academy of Dramatic Art (ADU), Zagreb in 1978 - 1993. Lectures in USA, Great Britain, Netherlands, Austria and Germany since 1983, as well as at the New Media Department at the Academy of Applied Arts (APURI, Rijeka) since 2013, where she founded, and leads the Center for Innovative Media CIM since 2017. She’s an active participant of many international scientific gatherings, exhibitions and festivals, and participates in several EU projects as an associate or a jury member. Worked as a film and video editor on many productions. Received a multitude of scholarships and awards as an independent artist. Own artistic practice involves film, interactive multimedia projects, video art and video installations, of which some were shown in the New National Gallery in Berlin, Museum of Contemporary Art (MSU) in Zagreb, Museum of Modern and Contemporary Art (MMSU) in Rijeka, as well as in many private and national galleries around the world. As a curator, an art director and a media art event organizer - she has ran a non-profit Media in Motion GbR, Berlin-Zagreb with Heiko Daxl, and has organized numerous international exhibitions and gatherings. fuelepp.com

FRGMNT [DE] – SSB - Sequenced Noise Beauty TUE Oct 9th – 8pm – [performance @ Siva]

The performance is a ~30 minutes live improvisation with advanced self made electronics. This involves the SNU (Special Noise Unit, FM-synth), sequencers, ring modulators and unique ultrasonic instruments (transmitters & "bat ears"). The main Units (SNU & sequencer I put under open license & distribute docu after the concert).

Jo FRGMNT Grys — born 1963 in Essen/Germany. Studied chemistry, philosophy, mineralogy etc @ the Justus-Liebig-University of Gießen then more & more turned towards arts using scientifically influenced thinking to investigate formation of structure from noise & order, from error & law and feedback as his main artistic themes. Grys is working with video-snow, electronics, computers, body & brain. Performed with noisiV (self-made electronics and video manipulations), TOB (transmitters and self-made electronics) as FRGMNT (structured noise & DIY ultrasonics) since 2010 and 2VM (VJ team) since 2002. Grys also makes electronic installations & gives workshops since 2004. Among other festivals he has taken part in V2´s DEAF NL, Piksel NO, Pixelache FI, Art Trail IE, Dorkbot CH, CTM DE. Works as an artist & inventor of machines. In recent years he also presents his computer graphics work to the public. frgmnt.org

FRGMNT [DE] – SNU noise machine WED Oct 10th – 2pm-5pm – [workshop @ hacklab01]

In this workshop, participants will be shown how to build the SNU (Special Noise Unit), an experimental sound circuit which uses illegal states falling between 1 and 0, and drives the digital chip it uses into an in-between world of uncertainty, resulting in complexity and uncontrollable behaviour, but also a playable instrument. Bio:

Magno Caliman [NL] – Error making and "not-knowing": some particularities of the relation between artists and programming languages WED Oct 10th – 6pm – [lecture @ Siva]

Computer programmers working in non-artistic applications and artists using programming languages to support an artistic practice might seem, at first, to be making use of the same tools (computational devices), and therefore can be thought of having similar practices. In this lecture we will draw parallels between the modes of operation of this two use cases. Specifically, we will comment on how artists are in a position not conceivable to the professional programmer: one where error making, trial-and-error, and "not knowing" some of the underling technical aspects of the practice are not only expected, but sometimes necessary in both the day-to-day experimental practice, as well as in the learning of those computational tools.

Magno Caliman — originally trained as a classical composer at the conservatory, but with a background as a hardcore / death metal guitarist, I now present myself as a sound artist and multimedia performer, with a focus on the intersection between art and technology. In particular, two specific practices have guided almost entirely the processes in my works for a few years now: the construction, modification and manipulation of electronic circuits; and the embracing of programming languages as places for poetical speculation. vimeo.com/magnocaliman/

Paul Vivien [FR] – 99% WED Oct 10th – 8pm – [performance @ Siva]

Loading… Loading… a transfer, a life, a movie, everything needs a time to prepare itself before it’s ready, before it becomes perceptible and pleasant. And when it’s ready, hurray! We can consume it. Why do we need it to be ready? Why don’t we prefer the things which are still in progress? A premature baby, an immature fruit or the current moment of my life with the evolving cells of my body? The last percent is missing, just enough to make you feel uncomfortable about this loading which will never end, with this file and my life you will never successfully download.

Paul Vivien — a new media artist who creates installations and performances. Experimenting with lights, generative custom software, video and sound, each project is an opportunity to discover a new expression way. Thanks to new technologies, he tries to make the virtual boundaries tangible, to augment the experience we could have of the real, accompanied by technology as invisible as possible. The artistic universe of Paul Vivien is hosted by a research about digital forms of life, a theme merging the notions of singularity, artificial intelligence, science fiction and nature. Based in Paris, Paul does talks and workshops at ENSAAMA, ECV and EPSAA art schools. In parallel of his solo projects, he participates to OYÉ visual art label production support, kaleidos studio art and design researches, exhibitions curation, and Omicron Persei 8 live AV. paulvivien.fr

ROUND TABLE THU Oct 11th – 6pm @ Gallery Siva

— on the current state of reinterpretative new media, its (role)models, changes, its influences, in regard to its artistic and technical ethos and praxis. The talk aims to discuss and contextualize diverse glitch-based critical new media (& appropriation) practices, in the company of /’fu:bar/ 2018 guest artists.

Nada Hasan [EG] – Experimental Desires [safe passage] THU Oct 11th – 8pm – [performance @ Siva]

A performance of reading texts and verbatim poems, installations of glitched video and live audio-visuals; an onsite experiment of a woman and her alter egos as she seeks to become the super human. The piece involves the ambivalent contradictions of female/male, weak/strong and white/black as they reside within a single body navigating hostile geographies. The project will explore the emotional, mental and physical aspects of becoming the perfect human through a mind trip and a process of being exposed to an archive of the most tangible realities and feelings, desires and traumas.

Nada Hasan — a Cairo based multidisciplinary artist from Southern Egypt. Her special focus is in video and media arts but her artistic practices vary between illustration, graphic design, performance, theater and storytelling. BA degree holder from faculty of Languages, Russian language and literature department and studied filmmaking at the Cairo Jesuit Cinema School by the year 2010. Since then she developed her skills in film and video art work by self teaching, exploring and experimenting new and various forms of creating moving image. Her work focuses on the emotional package of a body as a commodified being; making the struggles of bodies visible, emotions resistant to modern society persecution, while emphasizing the experience of oppression and our survival performances in functioning within privilege imbalances in connection to the quadrilogy of Race, Gender, Sexuality and Power. Her video and media art practice is curious to transcend the limitations of classical filmmaking and explore contemporary new media practices and its broad possibilities to create an alternative relation between the artist and spectator while constructing unconventional visual, image and motion driven narratives.  vimeo.com/user5161708

GUIDED EXHIBITION TOUR FRI Oct 12th – 6pm @ Gallery Siva

(hrvatski ~45’ | english~45’) Inquiries contact: [email protected]

Tabache & Lady oN [IT] – cHroma flux FRI Oct 12th – 8pm – [performance @ Siva]

"cHroma flux" explores a process of metamorphosis in which cells of colour and sound expand in order to create new forms. Thanks to technological devices, colour pixels and acoustic music mutate and distribute themselves throughout space giving life to a "technological landscape". The visuals are generated by live manipulation of paintings that have been transferred onto acetate. The resulting prints are positioned onto TV screens by means of feedback generated by webcams and this process triggers a series of transformations of the coloured pixels. The visual flow of colour is managed and produced thanks to an analogue video mixer. The result is a technological animation of colour as if under a microscope. It becomes a kind of digital mantra that responds to itself, reproducing and moving outwards to take over a new space. The audio has been developed from synth sources and classical music sampling. The acoustic samples have been literally deformed by digital and analogical technology, so that they reach the listener as naked sound that has been completely transformed from its original grammatical, cerebral and human nature as musical language. In "cHroma flux", sound and image influence each other in a synaesthetic vision that has been achieved not by machinery but by the physical gesture of a performance coordinated by the performer’s reciprocal listening and looking.

Tabache — starts his journey in 2004 with "Problems with my Mind", an electro experimental punk band with influences from bands like Suicide and subsequently flow into House, Techno, IDM. Publishing two records, "Album" (2005) and "Stato di Tensione"(2007). After moving to Bologna, he started his first solo project, Tabache, specifically devoted to a live and sensorial experience, with strong influences from Techno and Ambient. His new life injected him a new flow of creativity, which brought Francesco to publish in 2015 his first solo record ‘Searching a total state’, and to found his own record label with Alberto Randi and Giovanni Ricchi, "Timeless Records". In the same year he curated the performance and sound design for the performative theatre shows directed by Ennio Ruffolo. His natural interest in clubbing leaded him to open a new channel for the electronic music in Bologna and surroundings, with a serie of electronic events, such as "Sunday Calling" (2012 - 2014), "Futuro Dancefloor" (2015 - 2017), "Bologna Elettrica" (Electronic experimental Festival in XM24 social center, 2017, 2018) , and the new art collective "Einheit" (2017). soundcloud.com/tabache Lady_oN — operates as a videomaker and a visual artist on the national and international scene, realizing dreamlike live visuals sets, wraparound and imaginative visual scenographies invading the spaces of DJ sets, live music, installations and theatrical performances. In a constant state of research and experimentation, Lady_on’s visuals create hypnotic space-time fabrics in a cut up of images, video synthesis, found footage and feedback, contaminating the many pre-existing visuals with the possible infinites of live shooting and sonic incursions. Simultaneously, she is working on the Mediamorphose project, researching a multiplicity of visual expressions via music clips and video documenting reality.instagram.com/mediamorphose/

"Ondes noires" screening & FESTIVAL CLOSING FRI Oct 12th – 9pm @ Gallery Siva

"Ondes noires" / "Dark Waves", Documentary (21’14’’) In an ultraconnected society where waves have almost invaded every space, three electromagnetic intolerant people bear witness of survival in a world that seems more and more inacessible to them. The staging explores the idea of a deceleration in time. A necessary condition for the perception of a reality that extends beyond the visible. Written & Directed by Ismaël Joffroy Chandoutis; Cinematography by Nikos Appelquist Dalton; Production : Le Fresnoy – Studio national des arts contemporains.

// Screens and Prints Aaron Juarez Adrian Cain Affar Oppip Allison Tanenhaus Bartek Pilarczyk Creation by Destruction Cyberart By Justin Digital Ruins Earnest Raw elle thorkveld Ivana Miljkovic Ivana Miolin Barić John Bumstead jrdsctt Magdalena maja kalogera Mark Klink Mila Gvardiol Mirna Udovčić Neal Peterson Riitta Oittinen Robert Hruska Sabato Visconti satej soman Sebastian Gatz sepo Skinny Bunny tajny_projekt Tchidu Twin Pixel vivid windowzine Yuri Zalevski // Interactive Dario Zubovic Jim Andrews jonCates Kolmogorov Toolbox Magdalena Zoledz x Robert Kowalski Sabato Visconti Timo Kahlen // Narrative Gelido Jessica Evans Random Pixel Order // Time-based Baron Lanteigne + Derek Piotr Christoph Kerschner DAJAJDE Daniela Olejnykov (a.k.a paranthre, velvet_bites_) Daniela Takeva, Nikolina Nedialkova, Felix Ermacora Demet Karapinar DF0:BAD Digital Ruins Dom Barra _ AlteredData elle thorkveld Gochevas Ismaël Joffroy Chandoutis Kacper Mutke Lívia Zafanelli Lou Morlier Marija Lučić Meena Khalili Nickk Outernet Explorer Paloma Schnitzer & Pablo Denegri Paul Beaudoin Petra Drevenšek Philippe Girardet Qin Tan [sic][redacted] | alan page Timothy Nohe vivid // Lectures And Workshops Holographic_thought_process Ingeborg Fülepp Jo FRGMNT Grys Magno Caliman Mark Klink aka srcXor Nikša Gligo Ramiro Polla Random Pixel Order // Performances Jo FRGMNT Grys Lovely Insomnia Magno Caliman Nada Hasan Paul Vivien Tabache & Lady oN

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hkpeng · 3 years

Photo

Lara Reichmann: 26° South 1 – 22 October 2021 opening: 1 October, 7pm Exhibition curator: Mojca Grmek The art practice of Lara Reichmann, a visual artist of the youngest generation, is concerned with the theme of living space in different social contexts. The exhibition presents two works linked by the common title 26° South. The central gallery space is occupied by the installation A New Voyage Round the World, whose point of departure is the appearance of phantom islands, fictitious territories, marked on maps of past centuries. By taking up and playing with the market models of real estate agencies, the work puts non-existent places back on the map (and the market) and interprets them as places of longing that can be owned for the right price. In the second space, the work The Hole at the Pole is presented, which deals with the Arctic territory. With advancing climate change, this – essentially transnational – territory has also become the target of the race for raw materials and thus the scene of the struggle for appropriation. Ironically, however, just like the drafting of new state borders, the North Pole also successfully eludes representation on the map. While Whole Earth Catalogue magazine made history by publishing the first satellite image of the Earth as a whole, the flawed images of the Arctic illustrate the "incompleteness" of the Earth – all that is lost in the process of capturing the different versions of the world offered by maps and satellite images. What connects the two works presented in the exhibition are, on the one hand, the way territory is marked, represented and understood/read through maps and, on the other hand, the strategies of appropriation, marketing and exploitation of territory. Through them, the artist explores the role of cartography in creating the power relations and mechanisms that the capitalist system requires for its reproduction. ──────────── Lara Reichmann (1995) completed her studies in Sculpture at the Academy of Fine Arts and Design in Ljubljana and her postgraduate studies in TransArts at the University Applied Arts in Vienna. In addition to her art practice, she is also a curator and a member of the student pop-up gallery 7:069 and the visual-musical collective MATER.

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musicmapglobal · 6 years

Text

Slovenia's Christian Kroupa remixes Yila's 'Better (Of) Me'

When British producer, performer, designer and musician Alastair McNeil (aka Yila) moved to Ljubljana, he not only found himself in one of Europe’s greenest and prettiest capital cities, but also in the middle of a rapidly developing music scene. As Nina Hudej of Warrego Valles put it to us recently, the “very impressive” scale of local art production, as well as events such as MENT Ljubljana, makes for a fertile creative environment.

This means that the former Róisín Murphy synths/fx/guitar player didn’t have to look far when searching for collaborators for his single ‘Better (Of) Me’ (recently released on Supremus Records). The track features dexterous harmonic interplay, several folktronic flourishes, and memorable melodies from Mina Špiler, lead singer in the legendary Slovenian industrial band Laibach (also, it turns out, the first western band to ever perform in North Korea).

It also features a remix from Logatec-born artist Christian Kroupa (aka Alleged Witches), a Red Bull Music Academy graduate whose appearances at Sónar in Barcelona and EMAF in Tokyo make him one of Slovenia’s most hottest electronic properties. He uses Spiler’s vocals to trigger a gently undulating intro, gradually ushering in waves of bass, snare and synth against an icily cool backdrop. Check out the original above and Christian Kroupa’s remix below.

#Alastair McNeil #Alleged Witches #Christian Kroupa #electronica #EMAF #folktronica #industrial #Laibach #MENT #Mina Spiler #Nina Hudej #North Korea #RBMA #Roisin Murphy #Solvenia #sonar #Supremus Records #Warrego Valles #Yila

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lesser-known-composers · 5 years

Video

youtube

Jacob Obrecht (1457-1505): Tandernaken

Recorder ensemble 'Le Phénix', Academy of music in Ljubljana, Slovenia, mentor: prof. Mateja Bajt Live recording from the concert in ZRC SAZU Ljubljana, 10. 5. 2015

#Jacob Obrecht #Le Phénix

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nuclearblastuk · 5 years

Video

youtube

FIT FOR AN AUTOPSY | RELEASE THIRD SINGLE AND VIDEO FOR 'SHEPHERD' New Jersey six-piece FIT FOR AN AUTOPSY have just shared a brand new video for the new song 'Shepherd.' The album will be released on October 25 via Nuclear Blast Records worldwide and Human Warfare (AUS). Watch the new video here: https://youtu.be/8NBFLRcmJ5o "Enjoy 'Shepherd,' our tribute to the melodeath style of the early 2000s," says guitarist Will Putney. "We filmed this fun little video in one take. It was four minutes in and out — and we got to pour garbage on [singer] Joe [Badolato] while making a statement about the environment. You just can't beat that." 'The Sea Of Tragic Beasts' was once again produced, engineered, mixed, and mastered by the producer/guitarist Will Putney at Graphic Nature Audio in NJ. The artwork for the album was created by Adam Burke. 'The Sea Of Tragic Beasts' is available for pre-order and comes in the following formats: CD Jewel; Vinyl; Clear with White splatter vinyl (limited to 1000); Light Blue/Black swirl vinyl (limited to 750); and Blue Merge splatter vinyl (limited to 500). Pre-order your copy of 'The Sea Of Tragic Beasts' here: http://www.nuclearblast.com/ffaa-tsotb Pre-Save 'The Sea Of Tragic Beasts' on Spotify, Deezer and iTunes: http://nblast.de/FitForAnAutopsyPreSave ICYMI: Watch the video for 'Mirrors', directed by the wonderfully talented Max Moore, here: https://youtu.be/MLT81QYpTzw Watch the video for the title track, 'The Sea Of Tragic Beasts' here: https://youtu.be/C5_LHJOKNXs Trailer #1 about 'Mirrors': https://youtu.be/DgKH5GamdMg 'The Sea Of Tragic Beasts' track listing: 1. The Sea Of Tragic Beasts 2.No Man Is Without Fear 3. Shepherd 4. Your Pain Is Mine 5. Mirrors 6. Unloved 7. Mourn 8. Warfare 9. Birds Of Prey 10. Napalm Dreams The band will hit the road this fall to support the release of 'The Sea of Tragic Beasts.' The 26-date U.S. tour will kick off on October 24 in Brooklyn, NY and will make stops in Atlanta, Austin, and Los Angeles before concluding in Rochester, NY on November 23. 'The Sea Of Tragic Beasts' Release Tour: 24.10 Brooklyn, NY - St. Vitus 25.10 Hamden, CT - Space Ballroom 26.10 Philadelphia, PA - Voltage Lounge 27.10 Frederick, MD - Café 611 28.10 Chapel Hill, NC - Local 506 29.10 Nashville, TN - The End 30.10 Atlanta, GA - The Masquerade 01.11 Tampa, FL - Crowbar 02.11 Orlando, FL - Soundbar 04.11 Austin, TX - Come and Take It Live! 05.11 Dallas, TX - Gas Monkey 06.11 El Paso, TX - Rockhouse 07.11 Mesa, AZ - Club Red 07.11 Los Angeles, CA - 1720 09.11 Fresno, CA - Full Circle Brewing Co. 10.11 Sacramento, CA - Holy Diver 12.11 Portland, OR - Star Theater *VENUE CHANGE* 13.11 Seattle, WA - El Corazon 15.11 Salt Lake City, UT - The Complex 16.11 Denver, CO - Bluebird Theater 17.11 Kansas City, MO - Riot Room 19.11 St. Louis, MO - Fubar 20.11 St. Paul, MN - Turf Club 21.11 Chicago, IL - Cobra Lounge 22.11 Detroit, MI - The Sanctuary 23.11 Rochester, NY - Montage Music Hall FIT FOR AN AUTOPSY will also come to Europe in January 2020 in support of THY ART IS MURDER, CARNIFEX, I AM and one more special guest. See them at one of the following shows: presented by METAL HAMMER &, IMPERICON 25.01. BE Antwerp - Zappa 26.01. UK Manchester - Academy 2 27.01. UK Glasgow - Garage 28.01. UK Leeds - Stylus 29.01. UK Bristol - SWX 30.01. UK London - Electric Brixton 31.01. UK Birmingham - O2 Institute 01.02. NL Tilburg - 013 02.02. FR Paris - Cabaret Sauvage 04.02. ES Madrid - Mon Live 05.02. ES Barcelona - Razzmatazz 06.02. FR Lyon - Transbordeur 07.02. CH Pratteln - Z7 08.02. DE Munich - Backstage 09.02. IT Milan - Circolo Magnolia 10.02. SLO Ljubljana - Kino Siska 11.02. AT Wien - Szene 12.02. HU Budapest - Barba Negra 13.02. CZ Rep Prague - Meet Factory 14.02. PL Warsaw - Proxima 15.02. DE Berlin - Festsaal 16.02. DK Copenhagen - Amager Bio 17.02. SWE Gothenburg - Trädgårn 18.02. SWE Stockholm - Slaktkyrksn 20.02. DE Hamburg - Gruenspan 21.02. DE Leipzig - Felsenkeller 22.02. DE Oberhausen - Turbinenhalle 23.02. DE Wiesbaden - Schlachthof More on FIT FOR AN AUTOPSY: 'Black Mammoth' OFFICIAL MUSIC VIDEO: https://www.youtube.com/watch?v=NxLYJJnlGs8 'Heads Will Hang' OFFICIAL MUSIC VIDEO: https://www.youtube.com/watch?v=iWpY_9BvTt8 FIT FOR AN AUTOPSY is: Joseph Badolato | Vocals Patrick Sheridan | Guitar Timothy Howley | Guitar Will Putney | Guitar Peter Blue Spinazola | Bass Josean Orta Martinez | Drums www.facebook.com/fitforanautopsyofficial www.nuclearblast.de/fitforanautopsy

#fit for an autopsy #shepherd #melodeath #death metal #nuclear blast

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weekinethereum · 6 years

Text

May 3, 2018

Ethereum News and Links

Protocol

Vitalik published shard fork choice POC, “a fork choice rule-based mechanism for how sharding can be bolted on top of the current ethereum main chain, with a specialized random beacon and shard block times of <10 seconds” (source with lots more)

Prysmatic Labs: sharding update

More VB: Cross-links between main chain and shards

Latest Casper standup

Justin Drake: Plasma chain for offchain gas payments

VB: Optimistic cheap multi-exit for Plasma

Kelvin Fichter: Reliable exits of “limbo exits”

Swarm POC3 released ahead of their summit in Ljubljana next week

Stuff for developers

State machine testing with Echidna

documentation for Chanterelle, FOAM’s Truffle competitor in Purescript

Proof of concept for a trustless ethereum mixer using zksnarks

Writing a dominance assurance contract

Set up a light geth node for 35 bucks

Detecting batchOverflow (and similar flaws) using Mythril. Or you can watch Bernhard’s conference talk

Releases

Geth v1.8.7 - fix for archive nodes exceeding 1 tebibyte

web3j v3.4.0 with dynamic gas support

“is live on mainnet” section

p2p video streaming platform Livepeer’s alpha release live on mainnet. See also Reddit thread.

Dharma live on mainnet, though in closed beta for bug bounty

KnownOrigin ERC721 marketplace live on mainnet

Reversible ETH with Silverwire live on mainnet, with a 5 gwei gas subsidy. Similar to Tabby from BlockCat

Ecosystem

Next cohort of Ethereum Foundation grants

18 Ideas for 0x Relayers in 2018

b0x margin trading is live on Ropsten. Their contrast with dY/dX and Lendroid

Practical Plasma game examples from Loom

PoA sidechain bridge launches May 10th for tokens

Truebit April research update

ConsenSys Academy is developing a Coursera class

Open Source Money will BUIDL the Open Source Ecosystem

Infura: 15,000 registered devs, over 6 billion daily API requests, moving 1.6 petabytes monthly

Enterprise Ethereum Alliance releases architecture stack

Governance and Standards

Hudson Jameson and Nick Johnson talk current Ethereum governance process. Or check Dan Finlay’s flowchart of EIP process. Also summaries of the EIP0 breakout sessions.

Aragon’s road to decentralization: minimum viable foundation

Discussion on ERC948 about a subscription standard

EIP1052: proposal for new EXTCODEHASH opcode

EIP1051: Arithmetic overflow detection for the EVM

ERC1056: Lightweight identity

Project Updates

Jaak launches music rights database pilot with Warner Music Group, Warner/Chappell, BMG and Global Music Rights

Brave growth stats: now over 2.2M monthly active users, 75% mobile (where it’s a must use). If you don’t use Brave yet, here’s my referral code.

How to Launch a Newsroom on Civil

Q&A on the Cellarius universe

Kyber Network to rebrand and also “facilitate ICOs”

localethereum adds 22 payment methods worldwide

Spankchain review of 1 month of beta

The Kauri stack

RightMesh video demo (2 mins)

A deep dive into Golem architecture

Hoard building an NFT exchange on OmiseGo. The FreeMyVunk idea lives.

An update to the OmiseGo roadmap

Interviews, Podcasts, Videos, Talks

Zaki Manian on Hashing It Out

Linda Xie and Avichal Garg on YC podcast

Zero Knowledge podcast does intro to zk proofs. So meta.

Text interview with Christian Reitwießner

A video walkthrough of Status Incubate

Podcast with Max Stein from Balanc3

Podcast with Nick Johnson on governance

Brian Fabian Crain on the other side of the mic with Software Engineering Daily

Tokens

Two reputation-like take on TCRs: layered TCRs and graded TCRs

Matt Lockyer on use cases for ERC998 composable NFTs

Livepeer’s “MerkleMine” token distribution method

Cofound.it’s Actionable Research, a product-market fit tool. Also their Q1 report

FOAM white paper

Wendy Xiao Schadeck: how to efficiently distribute tokens

General

Russia wants to become a leading geographic hub for blockchains, and Paul Vigna reports that perhaps American regulators want to help them. SEC and CFTC folks are meeting May 7 to discuss their approach to this space.

Joe Lubin: Ether is not a security and regulators understand that

Cosmos is “85% of the way to launch.”

Brave WSJ op-ed: The Internet’s ‘Original Sin’ Endangers More Than Privacy

GoldmanSachs to trade Bitcoin futures

Is Coinbase creating a centralized or decentralized financial system?

Next episode of HBO’s Silicon Valley is named “Initial Coin Offering.” Maybe the only surprise is that it is this season and not last.

Sergey Brin’s 2017 letter: “boom in computing . . . stemming from . . . the GPU-friendly proof-of-work algorithms found in some of today’s leading cryptocurrencies, such as Ethereum.”

Dates of Note

Upcoming dates of note:

May 3-5 -- Edcon in Toronto (livestream)

May 7-11 -- Swarm Summit in Ljubljana

May 10 -- Fluidity Summit on finance (NYC)

May 10 -- CryptoCup opens for World Cup predictions

May 11-12 -- Ethereal (NYC)

May 15 -- Kleros sale

May 16-17 -- Token Summit (NYC)

May 17 -- Blockchain, Accounting, Audit, and Tax conference (NYC)

May 17-19 -- Melonport hackthon in Zug

May 18-20 -- EthMemphis hackathon

May 19-20 -- Hacketh (Warsaw)

May 25 - 28th -- EthBuenosAires hackathon

June 1 – Blockchain for Social Impact Conference (Washington, DC)

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Editorial control is 100% me. If you're unhappy with editorial decisions, blame me first and last.

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Here's the link to this issue: http://www.weekinethereum.com/post/173550464688/may-3-2018 Most of what I link to I tweet first: @evan_van_ness

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