CURATING & SOCIAL EVENTS

To organise projects and to be involved in media networks has always been a vital part of my arts practice. The same rings true for the curating of exhibition, festivals and other events. In addition to my media arts practice I started curating events as it provided an intriguing opportunity to meet face-to-face with the collaborators, with whom I had previously only been collaborating in art projects online, as well as other interesting and inspiring people.

Nature in the Dark

In 2012 I initiated an art/science collaboration between the Victorian National Parks Association (VNPA), the Centre for Creative Arts and Unlikely – Journal for Creative Arts. Since then we produced two series of artists videos and a number of public events and exhibitions including a stint in Baltimore and a conference on animal perception in Bendigo. And it keeps going … 🙂

This is an editorial that I wrote for Unlikely – where you can find the complete project archive. Please check it out.

Nature in the Dark – Communities of Sense and Ecological Imagination

Jan Hendrik Brüggemeier

Nature in the Dark evolved from an over-the-garden-fence conversation between neighbours in Preston, Victoria, with Matt Ruchel, the CEO of Victorian National Parks Association (VNPA), on one side and me on the other. Matt introduced me to VNPA’s citizens-science project Caught on Camera (Nature Watch) that used cameras to study the long-term impact of wild fires on fauna in Victorian national parks. The cameras were motion-triggered and most active at night set off by nocturnal animals. The results were predominantly black-and-white photographs. These night-vision shots showed no sign of any intention and preference in regard to the object of choice or the framing of the photographs, which clearly distinguished them from the staged work of a human photographer. The absence of a person behind the lens of the camera (in combination with some attractive bait) also allowed for more revealing behaviour on the part of the animals, allowing them to come as close as possible to the camera or even to run it over completely. To the curators, the raw and random nature of these photographs lacking direct human intention, felt aesthetically liberating. The combination of the ‘natural’ behaviour of the animals and the aesthetic of night-vision photography provided absolutely fascinating material for an art project.

NITD 1: source material from Unlikely Journal on Vimeo.

Project Formula

In the curatorial statement for the first iteration of Nature in the Dark artists videos, Maria Miranda and I described our experience viewing the source material like this:

Looking at the photos there is something incredibly intimate and unguarded about them. It’s as if wildlife social-realism meets the monochromatic aesthetic of night vision surveillance and we are becoming voyeurs of another intelligence at work — which we would not have encountered otherwise. (Brüggemeier and Miranda 2012)

From there the formula for the project arose. We provided artists with the same photographs and video footage that would usually be used by scientists, and each artist re-worked and interpreted the original footage in their own way. The next level was to present these works in a context that also allowed conservationists from the VNPA and environmental scientists to voice their concerns based on the scientific findings that this material helped to uncover. So far the project has generated two editions of artists videos, a number of exhibitions and video interventions in public space, interdisciplinary panel discussions, a symposium involving an eclectic mix of artists, conservationists and scientists, and an US-American spin-off in collaboration with curator Marnie Benney and artist Tim Nohe in Baltimore.

The Art of Nature in the Dark

Engaging artistically with the provided survey material evokes the question: for whom is the art of Nature in the Dark for? Is it art for animals – conceptually interesting because of its problematisation of the definition of art as a subset of aesthetic experience. However, we are animals, and therefore art is always for animals, but could it be for nonhuman animals? Or are these video works “merely” cultural artefacts? Are we, as artists, in times of mass species extinction and uncertainties of climate change making a collective attempt at exhausting the symbolism of loss – loss of the past, loss of species, loss of an ecological viable future? On one hand, it is for the eye of the beholder to interpret each of the presented works here according to their preferred conceptual and emotional reference system. On the other, I find that each artist with her or his unique approach to engage with the working material offers exercises in ‘universal consideration’ on their own terms. Tim Nohe’s video montage At the Wall of the Anthropocene in which our ecological neighbours re-appear along the walls and fences of human dwellings and properties. Or Jenny Fraser’s video Bunurong in which Fraser chose to work to only work with the photographic material from national parks that have kept their original indigenous names. Siri Hayes’s Foxtrot animates a foxtrot danced by foxes amongst other co-dancer in Victorian forests – a feral extravaganza. Olaf Meyer traces in his video Rhythm in the bay the emotional expressiveness of fish. Or Josephine Starrs and Leon Cmielewski, who used the provided photographs to create a playful animation of the ecological process of epicormic shoots. As well as the scholarly contributions to Nature in the Dark celebrate curious enquiry into the visual perception of bees by Adrian Dyer or Alex Harley’s work on the sense of empathy in the scientific work of Charles Darwin.

Nature in the Dark finds its virtual home at Unlikely. Beginning with the notion that although there are still different disciplinary frameworks, the common denominator is a shared concern for the environment we live in and our ecological “neighbours” with whom we share it. The line from Loren Eiseley’s poem Magic has served as an intitial leitmotif for the work as it eloquently captures the spirit: “I love forms beyond my own and regret the borders between us” (Eiseley 1972). As the project continued on it’s journey it became obvious – at least from the organisers’ view – that the big elephant in the room of these merry transdisciplinary encounters, has been the articulation of an environmental ethics related to the project. Here Nature in the Dark as the project title refers to – put in the words of philosopher Georgina Butterfield –


FROM SEED TO SCENE (AAIS)

SEEDS OF CREATIVITY FLOURISH IN A DERELICT COVENT GARDEN BUILDING THANKS TO NEW AA SCHOOL PROJECT

Two weeks of unprecedented and unexpected collaborations within the creative industries FREE events include dance performances by New Movement; a debate organised by New Deal of the Mind (NDotM) and a “Pecha Kucha” style event for young creatives to pitch their ideas to a range of experts

The Architectural Association’s Interprofessional Studio (AAIS) will take over a derelict building in the heart of Covent Garden for a highly unusual two-week long programme of genre-defying events, talks, and performances. Part architecture, part performance, part social and political debate, Seed to Scene (S2S) takes place from 18 – 31 May, and is inspired by the scalability of creative processes, from a seed of an idea which germinates to form ground-breaking and experimental collaborations. The aim of the project is to create new ways of bringing people together to form new and unexpected ideas and outcomes. S2S will showcase live and active practice of an emerging professional terrain operating between disciplines.

Now more than ever the creative industries need support and encouragement to ensure they continue to flourish and survive in difficult economic times. The creative industries are worth in excess of £50 billion a year to the UK economy and within four years are expected to employ more people than financial services. S2S will play a key role in providing networks, advice and most importantly, inspiration to the next generation of young creative talent from all disciplines, not just architecture.

Among the highlights of S2S will be a discussion of the importance of risk in creative innovation; a debate hosted by NDotM (www.newdealofthemind.com) relating to their recent report Creative Survival in Hard Times; a dance performance from New Movement, a collective of choreographers with a long history of unusual collaborations and a careers surgery enabling young creative individuals and businesses to seek advice from established professionals.

To produce S2S, the AAIS will collaborate with many professional individuals and companies including renowned film producer Rosa Bosch; Ben Wolff & Andy Dean, Grammy award- winning music producers (Music Technology Ltd); NDotM which is a coalition of artists, entrepreneurs and policy makers which seeks to create new possibilities of work and employment for the creative industries and c/o pop, the organisers of Europe’s biggest conference for the creative industries in Cologne.

The AA Interprofessional Studio (AAIS), which was launched in January 2009, is creating a new field of activity for the AA. Working on the margins of art, architecture and performance, the AAIS can reach professions, create partnerships and stimulate students that would not usually have the possibility of working with, or within, the AA. AAIS welcomes students from a very broad range of backgrounds and disciplines including artists, filmmakers, scenographers, architects, urban planners, landscape architects, engineers, product designers and graphic designers as well as managers, teachers and communicators. S2S is part of AAIS’s commitment to creating interdisciplinary projects which involve professionals from all kinds of backgrounds, and which support creative industries.

S2S Details
Venue: 1- 5 Dryden Street, London, WC2E 9NB
Dates: 18 – 31 May 2010

AAIS Staff 2010
Programme Director: Theo Lorenz
Studio Master: Tanja Siems
Studio Tutor: Jan Hendrik Brueggemeier

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CRASH!BOOM!BAU!





inflatable-cbb



“Scenography Now!” presents the contemporary scenography festival: Crash! Boom! Bau!

.Jan Hendrik Brueggemeier curated together with Janek Mueller the Crash! Boom! Bau! Festival from May 1st – 17th 2009 at Theaterhaus Jena.

During the course of the festival we showcased 101 artists in a diverse range of formats from theatre productions, installations in public space, interactive games, panel discussions and music performance (see the programme – project website offline).

Check out the video showcase of 7 selected festival productions.

New! New! New! Crash! Boom! Bau!
At the Bauhaus, »New« was the word of the hour. One wanted to change the world to the better, with all perfection: new cities, new tea pots, new man, and certainly also: a new theatre!

The stage workshop at the Bauhaus was an unique laboratory of the performative. With great complexity, Bauhaus-master László Moholy-Nagy described, what it was all about: »The sensible demand for today is: a true organization of form and motion that is deemed equally important and on the same plane with the acoustic and optic (electric) phenomena we can currently produce, not one abusing motion as a medium for literary and emotional events.«

Quite complicated, but: new!

One experimented with space, with apparatuses, with machines, and mechanisms. Walter Gropius: »Every art wants to shape space!« Oskar Schlemmer presented a »Figural Cabinet«, Kurt Schmidt a »Mechanic Ballet«, and Moholy-Nagy a »Light-Space-Modulator« – for the first time in 1923 as a »Mechanic Cabaret« at the theatre in Jena.

The Crash! Boom! Bau! Festival celebrates 90 years of the Bauhaus with a new and up-to-date theatre, guest performances and own productions, with artistic installations and workshops. All projects focus on the a special way of dealing with space, with the stage, with the relation between action and perception, and with interdisciplinary approaches between stage design, media art, and architecture. The festival as a laboratory!

And: we expand! In collaboration with the Architectural Association London, a temporary structure is created on the public square in front of the theatre building – a new place for play and encounter, to expand our theater. This addendum calls: come on in, here is something new!

New! New! New! Crash! Boom! Bau!

The festival Crash!Boom!Bau! is funded in context of the project “Scenography Now!” by the German Cultural Foundation and in the context of the project “bauhaus lab” by the EU culture program.


For more information please on the festival and the participating artists and programming follow this link (official project website offline).

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VIDEO SHOWCASE (Crash!Boom!Bau! festival)

related posts:
Crash!Boom!Bau! festival
bauhaus lab project
Human Dollz
Emma Waltraud Howes
Ulrike Haage
Heiko Kalmbach

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Video showcase of 7 selected festival productions

ELEKTRISCHE FREUNDE (electrical friends) – MACHINES, APPARATUSES and INSTALLATIONS for PLAY:

RALF KRAUSE -THE ART OD ON#NO OBJECT:

HUMAN DOLLZ – MUSIC VIDEO:

BLEAK HOUSE:

CRASH BOOM BAUEN – a VARIETÉ

EMMA W. HOWES – SUBTLE ARCHITECTURES:

THE CIRCLE IS RED:

HUMAN DOLLZ – PROMO VIDEO for CRASH!BOOM!BAU! FESTIVAL:


CONSTRUCTION SITE UTOPIA



In 2005 Jan Brueggemeier was the curator of the “Utopiebaustelle”.

The “Utopiebaustelle” utopia construction site, a temporary building on the Theaterplatz in Weimar, acted as a contemporary art and theory platform for the Cops&Robbers festival from 09.05.2005 to 11.06.2006.

200 years after the death of the poet Friedrich Schiller, the Cops & Robbers festival aimed to find a contemporary approach to his classical works in a dialogue between young artists and theoreticians.

“Cops&Robbers” is the name of the childhood game which represents the situation in the adult world and also contains a reference to three decisive works by Schiller: the infamous “Die Räuber” (The Robbers) (1779/80), the famous “Über die ästhetische Erziehung des Menschen in einer Reihe von Briefen” (On the Aesthetic Education of Man in a series of Letters) (1793/94) and the widely unknown fragment of a drama “Die Polizey” (The Police) (ca. 1799-1804).

Two excerpts from the programming:

.# 01 Utopia Reversed

Disappointed by the French Revolution, Friedrich Schiller turned to the aesthetic, hoping to find a better world through aesthetic education. Matteo Pasquinelli, a media theoretician from Bologna, will transport the question of utopia and how it can be approached into the 21st century. Under the title of “Neurospace”, he described where art, critical reflection and responsible behaviour start. Serpica Naro, for example, will report from her medial activist coup at the Milan Fashion Show this year. André Gattolin from the “Liberation” French daily paper will present a French collective called “AntiPub”, which looks into the dominance of advertising in public spaces. Andrea Natella and Sara Massaccesi from Rome will offer an introduction to the modus operandi of “guerilla marketing”. Paolo Pedercini, a computer game developer from Milan, will present his work “molleindustra” which has already been described as a “political computer game” by the BBC.

Thursday, May 26, 20-22h

Introduction and presentations with Matteo Pasquinelli, Bologna/London: An Assault on Neurospace: New forms of art and activism hitting the global mind; Paolo Pedercini, Milan: Molle Industria: Gaming as a new radical language; André Gattolin & Robert Johnson, Paris: The Antipub movement: From underground to “no ground”

Friday, May 27, 20-22h

Presentations and final debate with: Alex Foti, Milan: San Precario: The Italian icon of flexible revolt; Zoe Romano, Milan: Serpica Naro: Subvertising the fashion industry; Alex Foti + Zoe Romano: May Day 005: Euroradicals fighting precarization across Neuropa: Sara Massaccesi, Rome: Guerriglia Marketing: brand economy encounters social conflict

# 02 Blaulicht by Cornelia Erdmann / inauguration Construction Site Utopia

Cornelia Erdmann’s “Blaulicht” installation created an unmissable publicity action, attention grabber and landmark for the opening and all other police festival events. The container castle was transformed into a real utopia construction site scenario: covered with hundreds of blue lamps, the festival head-quarters pulsed in a flickering blue glow like Las Vegas. The rotating lights in police style can be found on every construction site.

website: www.schillerfestival.com (offline)

The Utopia Construction Site was financed by the government appointed representative for culture and media.

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MEDIATE EUROPE

The New Media panel of the final HERMES conference (5-8 Oct 2006): Heritage and New Media – Contributing towards Integration and Regional Development.

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Programme:

The background of this workshop is the evaluation of the concrete work of the “Heritage Radio Network” over the passed two years.

Main concerns of this workshop are:
– What are possible models of online journalism on a European level?
– Which coalitions can be shared in the cultural field?
– If there are modes for a European journalism, how does one address a European target group?
– Which media, which formats and which languages are favored here?

The Panel is conceived and organised by Jan Hendrik Brueggemeier, coordinator of the Heritage Radio Network.

website: www.heritageradio.net

The Heritage Radio Network is a part of the EU-project HERMES. “HERMES” stands for Cultural Heritage and New Media for sustainable Develpoment. It was funded by the Interreg III B (Cadses). The Classic Foundation Weimar has been the HERMES leadpartner. website:

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WORKSHOP SESSION

Anna Riepe (policy consultant, Brussels / B)
EU cultural politics as a black box? Some insights to policies and funding

Douglas Arellanes (Media Development Loan Fund // CAMP, Prague / CZ)
Criteria and examples of sustainable (new) media work in Europe

Thorsten Schilling (German Federal Agency for Civic Education, Berlin / D)
European Journalism for journalists and who else?

~~ first resume and short coffee break ~~

Pierre-Yves Tribolet (European Broadcasting Union, EBU)
Cultural bridges built by Public radios. How does it work backstage?

Uta Thofern (Deutsche Welle, Bonn / D)
Deutsche Welle in the age of Internet and new media

Hatto Fischer (Poiein kai Prattein, Athens / GR)
From ‘GO ON’ to Heritageradio – a simple reflection of the development of audiences via Internet

~~ second resume and short coffee break ~~

Dirk de Wit (Initiative for Audiovisual Art, IAK, Brussels / B)
What is the next level? – evaluation of the HRN

~~ final discussion round ~~

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RADICAL CONNECTOR(S) 01

radical connectors flyer

with the friendly support of the

Friedrich Ebert Foundation, Erfurt

stuko logo weimar
the student union, Bauhaus University Weimar

Or what means autonomy today? And how do protest movements (de)form in the 21st Century?

radical connector(s) 01 – a discourse and media-art festival in Weimar, Germany, from October 21st – 24th and October 28th – 31st 2004

abstract
worldwide telecommunication is permeating almost all facets of our daily life. the telecom-munications-multi sony ericsson revised its forecast of this year sold mobile-phones worldwide from 550 mill to 600 mill devices.

media let spatial borders between private and public become transient. one’s cellular turns the public space of the subway into a super-private realm while the web cam makes the sleeping-room somewhat public. with the ongoing transition of working routines in communicative situations the office and the factory are leaving their former abode – the factory hall.

the production mode is entering the common sphere of everyday communication. although communicative interconnectedness is constantly expanding the user tend to become more isolated. the mobile-phone and its direct addressability introduce a social practise that stresses more the personal than the impersonal relationships.

we receive a situation, where on one hand the technical capability of media-production has reached the consumer-level, but is used only in a private context. on the other side the active area of the general media public is left to a few corporations monopolising the global mediascape and are effectively forming public conception.

How do social and artistic movements face such situation, and what does it mean for political and artistic autonomy?

radical connector(s) 01 is meant as a survey on social and artistic movements of the last 30 years, which stand out through their very own and unique media-practises. current projects will be introduced, as well as exchange with local initiatives is wanted.

Outdoor screening sessions throughout the events

photo, out door screening session

photo, screening outdoors


video was projected from the boots of  cars

or vacant store windows

radical connector(s) 01 schedule

Thursday 21/10/2004

17:00 – 18:00 reception and overview an all planned activities
18:00 – 19:30 Christian Goerg (lecture): on new and newest social movements -transformations of political protests
20:00 – 22:00 Erick Arellana-Bautista (presentation /screening): multimedia-proletaria Bogota, Colombia

Friday 22/10/2004

16:00 – 17:00 Regina Bittner (lecture): between appropriation and disappropriation of public space in post-socialism
17:30 – 18:30 Mirijam Struppek (presentation): public space – interaction – digital media
19:00 – 20:00 Claudia Reiche (lecture): (De)information – on the Politics of Fictional Figures in Fictitious Times

Saturday 23/10/2004

14:00 – 15:00 Wolfgang Bock (lecture): social movements in transformation
15:30 – 16:30 Roger Behrens, testcard (lecture): pop and politics – a critical review
17:00 – 18:00 Lloyd Dunn (presentation): plagiarism thanks you for interacting
20:30 – 22:00 Franco Berardi, telestreet (lecture): what means autonomy today?
succeeding screening: Telestreet

Sunday 24/10/2004

12:00 -13:00 Matthias Niendorf, University Erfurt (lecture): TO All! – russia, the revolution und radio (1895-1945)
14:00 – 16:00 final-panel:
how do protest movements (de)form in the 21st Century?
17:00 – 18:00 Alexander Klosch, subsignal.org: from tech to polis? – about community networking in current technologies

Part II:

Thursday 28/10/2004

16:00 – 17:00 Diana McCarty, reboot.fm (presentation): what means free media today? – an example: reboot.fm berlin
17:00 – 18:00 T03K,DFM rtv Int (presentation): free (new) media – Amsterdam Skool
18:00 – 19:00 Filmgruppe Chaos (presentation): underground, home movies, independent distribution
20:00 – 22:00 screening of Filmgruppe Chaos’ works

Friday 10/28/2004

10:00 – 20:00 preparation of outdoor intervention in public space
20:00 – 22:00 public screening

Saturday 10/30/2004

10:00 – 20:00 preparation of outdoor intervention in public space
20:00 – 22:00 public screening

Sunday 10/31/2004

10:00 – 18:00 preparation of outdoor intervention in public space
20:00 – 22:00 performance/outdoor screenings
22:00 – 23:00 final discussion
23:00 party

location

the conference took place at: Herderplatz 03 – 99423 Weimar  > radical connector(s) 01

It takes place in the context of the lecture series City & Protest organised by the alternative_lectures at the Bauhaus-University Weimar with friendly support of the Friedrich Ebert-Foundation (Thuringia), department of the political education of the student union of the Bauhaus-University Weimar, Theaterhaus Weimar e.V., the Experimental Radio-Department of Bauhaus-University Weimar, the media-platform “pingfm” and the cultural initiative “Salon K”.

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RASTE_02 – “DISTRIBUTED BY… – How do I get to the music and how does the music get to me?”

In 2004 Jan Brueggemeier was one of the core organisers and curator of Raste_02.

Raste_02 is a festival of new electronic music and audio art which opened in Weimar for the second time that year. It dealt with this question.

For the three days from 12th to 14th June 2004 in Weimar and Frankfurt am Main, Raste_02 combines readings and discussions with the experience of live, new, electronic music and audio art.

Raste_02 creates a forum for budding and established musicians and artists to present music concepts using an electronic sound space and its audio-visual implementation.

Raste_02 aims to be a communicative platform which discusses changes in the relationship between artist, market and audience resulting from digital media.

website: www.raste.org

“Distributed by… – how do I get to the music and how does the music get to me?”

How do I get to the music – and how does the music get to me?
How can you find the music you really like?
Does technology always change music?
Is there any music which is not influenced by the fact that it can be recorded and copied?
Does music live through its continuous reproduction?
How can the value concept of music as a product be developed in a digital musical system?
Are physical storage media being increasingly marginalised?
Is there a digital pendant to a 500 series vinyl record?
Is the only thing of value something that cannot be copied?
Who founds a label and why?
Do labels act as a compass in the overgrown data jungle?
How does the label landscape change?
Are small labels more adventurous, more entertaining and more patient?
Does financial success spell creative disaster?
Can musicians cope with the new economic model of making music?
Is music driven out of its own studio so quickly that no file-sharing client can keep up?
Can music be sold in such attractive packaging that the purchase is easier than copying it?
Will self-publishing of music by the artist become the best form of publicity because an increasing number of people will go to concerts of those musicians, who keep their music in circulation?
Will live presentation of music become more popular?
Are there too many laptop artists?
Can electronics arbitrate between experts, hobbyists and independents?
How will the relationship between creative and interpretive art develop?
Will pure music agents with their networks and talent scouts become more and more important as the real artists of distribution?
What does the future look like for musicians?
What does a musician live from?

You can be sure the presentations, discussions and moderations during Raste_02 will reveal more questions. But maybe some answers can also be found without carrying on the powerful discourse bubble in the context of electronic music.

Saturday, June 12th 2004, Weimar
20.15 Uhr Senking (Cologne)
22.00 Uhr Robert Lippok (Berlin)
DJing Ushi Hupe (Berlin)
DJing Kazi Lenker (Berlin)

Sunday, June 13th 2004, Weimar
17.00 Uhr Reading: Thomas Meinecke (Munich)
18.00 Uhr Panel
20.00 Uhr pingfm (Weimar)
21.00 Uhr L.O.S.D. (Amsterdam)
22.00 Uhr Frank Bretschneider (Berlin)
DJing Peter D. (Amsterdam)

Monday, June14th 2004, Frankfurt
20.00 Uhr Frank Bretschneider (Berlin)
21.00 Uhr L.O.S.D. (Amsterdam)
22.00 Uhr pingfm (Weimar)
23.00 Uhr Robert Lippok (Berlin)
24.00 Uhr Senking (Köln)

Raste_02 made possible by

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MEDIA ABOVE & BEYOND .. (strategic media deployment conference)








Crossing the borders, leaving the context: what happens when artists change their brush and easel with a soldering iron?

In 2002 Jan Hendrik Brueggemeier was core organiser and curator of Media above & beyond.

Media above & beyond was held in Weimar in July (12th – 19th) 2002  and was organised by www.pingfm.org, www.radiostudio.org, www.subsignal.org with an active participation of international media practitioners, theorists and activists coming from:

  • Lo-Res (Vienna)
  • Tape-beatles (Prague)
  • Heath Bunting (Cube / Bristol)
  • Patrice Riemens (De Waag, The Center for Old and New Media / Amsterdam)
  • ASCII (Amsterdam)
  • Ilja Gerhart (EGO City / Zurich)
  • Joe Davis (MIT / Cambridge, USA)

The Conference continued later the same week at the NoBorder Camp, held in Strasbourg. The experiences and the shared knowledge were applied in supporting the media infrastructures temporarily organised for the NoBorder Camp. A radio-studio was set up with a FM transmitter and WLan access points, as well as internet-cafe with free internet and GNU/Linux powered computers. Geert Lovink, a media critic, and members of the Sarai New Media Collective from New Delhi – India, joined the conference participants to exchange experiences and establish a future co-operation in a newly created social network.

The conference was conceived context-wise of a follow-up in a series of similar meetings and conferences that proceeded in the last 3 years, such as Conncect Congress in Zurich, Tech2 in Bristol, ping-in-progress in Weimar, HAL-2001 (Hackers at Large) in Twente, ASU II – Art Servers Unlimited in Labin, Next 5 Minutes in Amsterdam. Our intention is to continue this way, connecting, supporting and creating international media networks, promoting Open Source software and spreading the concepts and knowledge of tactical media.

Media above & beyond made possible with the support of the Thuringian Ministry for Science, Research and Art, the Student Union of the Bauhaus University Weimar, the Experimental Radio Department of the Bauhaus University Weimar, pingfm.org and the art-space Gaswerk.

website: www.pingfm.org/smdc (offline)

Presentations

  • borderXing (border crossing) – tackling the problem of internal and external European borders – an art project by Heath Bunting and the Tate Modern, UK
  • Genetic Art – merging art and applied gene-science – the work of Joe Davis as a resident artist of the Massachusetts Institute of Technology (MIT), USA
  • Art with electronics of your everyday life – Expanded Cinema  / Audio- Video Performance by Tape-beatles, CZ
  • Philosophy of the “Do-It-Yourself”- Culture and cultural Activism – lecture and discussion with Patrice Riemens, MC / NL
  • A View on alternative Media and Future of Media as Technologies become more available to independent Groups, Organisations and Individuals – lecture and discussion with Patrice Riemens, MC / NL

Workshops

  • Explaining the urban strategic deployment of Wireless-Lan equipment and basic technological principals of operating antennas, access points and servers – lecture and discussion with Ilja Gerhart, CH
  • Applying Wireless Internet (WLan) and enabling local and remote broadcasts of various media and artistic events in real time to the WWW and local re-broadcasting schemes – lecture and workshop with Ilja Gerhart and ASCII, CH / NL
  • Explaining the principles of FM and mini-FM Broadcasts – lecture and workshop with ASCII, NL)
  • Hands-on Practice on Open Source Operating- System GNU / Linux – workshop with ASCII, NL
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PING IN PROGRESS

In 2001 Jan Brueggemeier was a core organiser and curator of ping in progress. It was a one-week media-festival dedicated to CRITICAL NET CULTURE and FREE MEDIA.

The lectures’, presentations’, workshops’ and arts’ focus was laid on streaming and networked media.

The Experimental Radio Department of the Bauhaus University Weimar and the webcast platform pingfm.org invited theorists, artists and activists to participate physically in this event.

Participants

  • ASCII ( digital activists, Amsterdam )
  • Josephine Bosma ( media theorist, Amsterdam )
  • DFM RTV INT ( media artists, Amsterdam )
  • Micz Flor ( Center of advanced Media, Prague )
  • Fritz von Klinggräff / Nils Röller ( media theorists, Weimar/Cologne )
  • indymedia germany ( alternative media network )
  • mama ( Multimedia Institute, Zagreb )
  • Stefan Merten ( free software theorist, Kaiserslautern )
  • Sasker Scheerder ( media artist, Amsterdam )
  • Pit Schultz ( net activist, Berlin )
  • Station R.O.S.E. ( media artists, Frankfurt/M )
  • Theophilius Emiowele Osezua ( social activist, Weimar )

Most of the program was broadcast live on the experimental radio of the Bauhaus University on 106.6 MHz.

The complete program was webcasted live (audio/video) on pingfm.org

The ping in progress-festival was made possible with the support of the Thuringian Ministry for Science, Research and Art, the Student Union of the Bauhaus University Weimar, the Experimental Radio department of Bauhaus University Weimar, pingfm and the art space Gaswerk.

Website: www.pingfm.org/pip (offline)





Schedule:

Monday, July 2nd – CET

14:00 press conference
20:00 reception of the exhibition “bewegungsfreiheit” (freedom to move) with Nine Budde, Mareike Maage, Jens Maier-Rothe, Johannes Mayr, Stephan A. Schmidt, Oliver Thuns

Tuesday, July 3rd – CET

15:00-19:00 workshop: streaming basics (Lars Mai, Weimar)
20:00-22:00 webcast-session: pingfm and the workshop-participants

Wednesday, July 4th – CET

14:00 presentation: indymedia germany (Nadine X., Hamburg)
15:00 presentation: radio f.r.e.i. (Carsten Rose, Erfurt)
16:00 presentation: the v.o.i.c.e. Jena (Theophilus, Nigeria), following discussion
19:00 workshop: build your own mini-fm-transmitter (Oliver Thuns, Weimar)
22:00 dj-act

Thursday, July 5th – CET

10:30 lecture: ernst haeckel – one medusa and five radiolaria (Nils Röller & Fritz von Klinggräff, Cologne/Weimar)
14:00 lecture: introduction to the GPL society (Stefan Merten, Oekonux, Kaiserslautern)
15:00 presentation: mikro.org (Pit Schultz, Berlin)
16:00 presentation: ASCII (Amsterdam), following discussion
20:00 workshop: linux (ASCII, Amsterdam)
22:00 dj-act

Friday, July 6th – CET

14:00 lecture: consensus of the inbetween spaces (Micz Flor, CAMP, Prague / Berlin)
15:00 presentation: Station R.O.S.E. (E. Rose & G. Daner, Frankfurt / M)
16:00 presentation: mama (Zeljko Blace , Zagreb)
17:00 presentation: DFM Radio Television International (T03K, Amsterdam), following discussion
20:00 webcast-session: pingfm and guests

Saturday, July 7th – CET

10:30 lecture/workshop: target practice, or how to -use- your mikro-fm transmitter (Josephine Bosma, Sasker Scheerder & Harv Stanic, Amsterdam)
15:00 performance: target practice (Josephine Bosma, Sasker Scheerder & Harv Stanic, Amsterdam)
22:00 live-concerts: percussion formation of the v.o.i.c.e. (Jena), frais chocolate (Hamburg), laserbug (Hamburg), mama (Zagreb)

Sunday, July 8th – CET

14:00 open slot
18:00-4:00 live-webcast from Weimar: DFM Radio Television International
22:00 open end party

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