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Free Culture Incubator No 10 - A matter of form

icybrand — Fri, 23 Sep 2011 16:05:08 +0000

Start: 14.10.2011 13:00

End: 14.10.2011 18:00

Start: 14.10.2011 13:00

End: 14.10.2011 18:00

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A matter of form – founding stories of creative organizations

Free Culture Incubator No 10

Moderators & Facilitators: Jan Froehlich, Ela Kagel, Dirk Kiefer
Friday, Oktober 14 2011, 1-6 pm

Universität der Künste Berlin, Career & Transfer Service Center, Einsteinufer 43-53, Auditorium

A matter of form – founding stories of creative organizations

“Well, I have this project...” – this is how many stories around independent, creative labour begin. Cultural forms of organisation hardly ever develop on the basis of strategic considerations but rather cluster around the individual needs of a specific project. Teams are built for a limited amount of time, splitting up again, or merging into networks. Money sometimes comes from private sometimes from public sources; sometimes not at all. How is it possible to build sustainable structures in spite of such unreliable dynamics? Which models of organisation make sense in the field of art and free culture? And, most importantly: what are the practical consequences of each organizational model? During this halfday workshop we will focus on three different organizational models: companies, non-for profit organizations and networks.

This workshop addresses cultural workers, freelancers, entrepreneurs or network activists who aim at developing a sustainable structure for their activities. We will talk about founding requirements, legal implications and practical aspects of daily business.

// Moderators & Facilitators:

• Jan Froehlich, attorney-at-law, LL.M.(University of London), specialist solicitor informationtechnology-law & trade-marks, patent, copyright law. Teaching assignment at the University of Fine Arts Berlin, faculty "curation".
• Ela Kagel, Freelance curator & producer. Founder of Supermarkt – Free Culture Department Store.

• Dirk Kiefer, The Federal Government’s Center of Excellence for the Cultural & Creative Industries.

Location: Universität der Künste Berlin, Career & Transfer Service Center, Einsteinufer 43-53, Auditorium.

Date: Friday, Oktober 14 2011, 1-6 pm

> The workshop will be held in German!

// According to these 3 themes, the workshop will be based on the following three user stories:

Use Case 1: IT Start-up

3 young software engineers and camera operators have the plan to develop a livestreaming TV studio. Each of them contributes different things: technologies, hardware and know-how. By combining all their resources they have a realistic basis to start their own company. They have found an ideal premise which they would like to rent & turn into a studio. The team already collaborates on various projects, each of them under their own freelance label. After they will have founded their company, they plan to conduct all their business activities under one roof.

These are the important questions they have to deal with:

• What kind of organization makes sense for them? What are the requirements to set up a company?
• What are the best ways of keeping track of the personal contributions of each member of a business partnership?
• How to allocate the profits?

• How scalable is the company? (in terms of growth, target group, product and future team members?)

Use Case 2: Art Association

A group of artists aims at realizing a series of exhibitions together with international partners. The financing will be based on public funding. The group decideds to found an association in order to have an instrument for public funding acquisition. During their planning it becomes clear that they will have an income as well, through the sales of works of art for instance. They decide to appoint two team members as executive directors. However, the rest of the group wants to participate in the decision making. Together they reflect on the ideal organization form in order to realize their plans.

These are the crucial questions they are facing right now:

• Should they go for a non-profit form or not? What are the pros and cons?
• How to organise a representative participation of all the association members?
• How to deal with income revenue?

• Is the foundation process complex? What does it entail? How long does it take?

Use Case 3: Network

Over the course of the last years, a stable network of media activits developed out of an online mailing list. This community is based on the initiative of a media researcher in the United States and meanwhile has local nodes in 23 countries. These local nodes use the network’s label for all kinds of events. The network has no specific organizational forms, nor any hierarchies. The power of decision is held by the most active members. For instance, if the network has to decide whether to allow a new international node, then this decision is based on a majority vote. The network has to cover various costs, such as for the mailserver or the website maintenance. Other than that, the members of the network plan a physical gathering for all the 23 nodes. This calls for the acquisition of funding as well as for forming an organization committee. They discuss their different options via the mailing list, but it is difficult to actually get results: each country has their own legal practice and business organizations. How to find a form which supports the decentralized, international character of the network?

This is what the group discusses at the moment:

• How to organize responsibility in a network? How to build up a decentralized mode of organization?
• What would be an appropriate legal form for a worldwide online-network?
• How to organize this practically (in terms of financing, communication, corporate identity etc.)

• How sustainable can a network be? How long is it bound to exist?

>> And this is the link to the registration.

Partner of the FCI Workshop series: The Federal Government’s Center of Excellence for the Cultural & Creative Industries

http://www.kultur-kreativ-wirtschaft.de/

Free Culture Incubator No 6: GET MORE OUT OF WHAT YOU DO – Mass Customization for Makers

icybrand — Mon, 09 May 2011 06:59:25 +0000

Start: 31.05.2011 10:00

End: 31.05.2011 18:00

Start: 31.05.2011 10:00

End: 31.05.2011 18:00

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Aufbau Haus, Theater Space

Moritzplatz 1, 10969 Berlin-Kreuzberg
Tuesday, May 31st, 10 am- 6 pm

With: Heather Kelley, Alexander Rulkens, Paul Blazek, Ela Kagel, Peter Troxler, Nadia EL-Imam as facilitators .

Part of the Create Your Own - CYO2011 conference

Aufbau Haus, Theater Space

Moritzplatz 1, 10969 Berlin-Kreuzberg
Tuesday, May 31st, 10 am- 6 pm

With: Heather Kelley, Alexander Rulkens, Paul Blazek, Ela Kagel, Peter Troxler, Nadia EL-Imam as facilitators .

Part of the Create Your Own - CYO2011 conference

Here is a documentation video of the workshop and conference:

with love from #cyo2011 from Choco Canel on Vimeo.
And the link to our Flickr photo stream: http://www.flickr.com/photos/59271915@N06/sets/72157626950379752/

MC, or “ Mass Customization”– what is this all about and why might it matter to me? 

Basically it is the use of a flexible production method or systems that support custom output. As a creative producer you might have a certain idea about the way your product or service should function or look like. What if a potential client likes your service or product in general, but needs it tailored to his or her needs in order to make use of it? Many creative businesses could increase their sales (and thus get out more of what they do) if they just knew how to adapt their production methods to different markets and clients.

Get More out of what you Do – Mass Customization for Makers

The MC for Makers workshop aims to help people in different fields of practice explore how they to get more out of what they do as a creative producer and how they can meet their client’s diverse and changing needs. If you want to explore how you as a creative can get more out of resources, technology, materials or changing paradigms you are most welcome. The goal of the Mass Customization for Makers Worskshop is to help you figure out how to profit from peer-production models that promise to give actual control over consumption back to the consumers.

10:00 Opening presentation: Round of Introductions & Workshop Overview

11:00 Breakout sessions: Participants break up into small groups. Each group is led by one of our experts from the fields of culture, science and economy and has a dedicated illustrator to help visualise ideas and concepts.  Facilitators: Heather Kelley, Alexander Rulkens, Paul Blazek, Ela Kagel, Peter Troxler, Nadia EL-Imam
13:00 Lunch
14:00 Group Sessions continue
16:00 Synthesis session: Each group has to prepare a five minute presentation of their results to present to a panel from the main CYO-conference in order to receive constructive critique from leaders in the field.

18:00 Closing Remarks: Drinks and snacks

These were the 4 user stories our participants have been working on:

• My piece of cake: Ina has recently opened a small bakery shop. She is specialized in cupcakes (these wonderful, tasty little cakes with different ingredients and frostings). After she has started her business, she step by step learned about the various food requirements of her clients: some of them are vegan, others want to go low-fat and then there are those clients who ask for a marcipan rose on top. Ina would be really happy to adapt to her customer’s needs, but she simply has no idea how she can approach this with the resources she has at hand.

• User Experience: Tom works as a freelance information architect. He gets hired by corporations and multimedia agencies to create the information design of large-scale websites and mobile devices. Tom finds himself very often confronted with job requests that involve new technical platforms which he is not familiar with. In order to get those jobs, he has to spend a lot of time with research and it is not easy to find all the info he needs online. Tom thinks of ways how he can continue to be a freelancer and get access to all the cutting-edge knowledge that is out there and that he needs for the different job offers.

• Make your own stamp: Matt and Sabine are two product designers who have just started their showroom. They focus on postcard and paper design and they plan to create a highly individual range of selected paper items, from calendars over postcards to stamps. They just wonder how to deal with the production cost and time which every personalized item would require. Then Matt has the idea to involve the customers into the making process and offer workshops where everyone can produce their own product line. Sabine is not convinced: those workshops will be quite expensive. Is there a real market for that?

• Art on Demand: An emerging art gallery collective thinks of ways how to produce “art on demand”. Their main questions and concerns are: will this still be art? How to advertise that? How to come up with a matrix for values and prices of the artworks? And how to estimate the time and conditions for an artwork to come into existence? And wouldn’t this lead to inviting more artists to work in the gallery in order to meet different customer’s tastes and requests? How to handle that?

Hosts: MC for Makers was organised by Cookies And Code and the Free Culture Incubator in partnership with the Federal Government’s Centre of Excellence for the Cultural and Creative Industries Initiative.

RE-TOUCHING McLUHAN - THE MEDIUM IS THE MASSAGE // McLuhan in Europe 2011 Centennial Weekend

Michelle — Wed, 23 Mar 2011 16:03:14 +0000

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transmediale, in collaboration with the Embassy of Canada Berlin and the Marshall McLuhan Salon are presenting a key weekend event celebrating the legacy of Canadian media philosopher Marshall McLuhan on the occasion of the 100th anniversary of his birth. Part of the McLuhan in Europe 2011 network of events initiated by transmediale, Berlin’s Centennnial Weekend will take place May 27 - 29 at the Embassy of Canada and Marshall McLuhan Salon.

RE-TOUCHING McLUHAN – THE MEDIUM IS THE MASSAGE

McLuhan in Europe 2011 // Berlin Centennial Weekend May 27 – 29, 2011

transmediale, in collaboration with the Embassy of Canada Berlin and Marshall McLuhan Salon invite you to a key weekend event celebrating the legacy of Canadian media philosopher Marshall McLuhan on the occasion of the 100th anniversary of his birth. Part of the McLuhan in Europe 2011 network of events initiated by transmediale, Berlin’s Centennial Weekend will take place May 27 - 29 at the Embassy of Canada and Marshall McLuhan Salon.

The RE-TOUCHING McLUHAN Conference, curated by Dieter Daniels and moderated by Christopher Salter, features lectures by leading international media and digital culture researchers including Richard Cavell, Martina Leeker, Claus Pias, Dieter Daniels, Katja Kwastek, Liz Kotz, Janine Marchessault, Graham Larkin and Lorenz Engell.

Legendary McLuhanist Derrick de Kerckhove and local McLuhan scholar Steffi Winkler elaborate on rare material from the McLuhan archive in McLuhan vs McLuhan, the first session in the McLuminations Illuminated Screenings series, produced by Baruch Gottlieb.

The opening of the Centennial Weekend features the worldwide (re-)launch of McLuhan's 1968 audio art classic The Medium is the Massage, digitally remastered for the first time, produced and presented by hip-hop musician and conceptual artist Paul D. Miller aka DJ Spooky.

The Centennial Weekend will feature the European première of Through the Vanishing Point, a major new multi-media installation by leading Canadian digital artists David Rokeby and Lewis Kaye, as well as Play_McLuhan, an exhibition by media art students from the Hochschule Darmstadt under the direction of Sabine Breitsameter will be presented.

All events over the McLuhan Centennial Weekend are free and open to the public, but spaces are limited so please RSVP at rsvp@mcluhan2011.eu.

Programme Highlights

Friday May 27, 18.00
Re-Touching McLuhan Centennial Weekend
Opening and Reception featuring Richard Cavell and Paul D. Miller aka DJ Spooky

Saturday May 28, 10.00 – 18.00
Re-Touching McLuhan: The Medium is the Massage
Conference chaired by Dieter Daniels

Sunday May 29, 14.30
McLuminations #1
Screening & Discussion featuring Derrick de Kerckhove and Steffi Winkler

Sunday May 29, 17.00
Through The Vanishing Point
Installation by David Rokeby and Lewis Kaye - Vernissage

Full event schedule: mcluhan2011.eu/schedule

Special Pre-Events

Friday, May 27, 12.00 – 17.00
Global Village: Calamity or Chance?
2nd German-Canadian Professionals Conference
gcp-conference.de/2011

Friday, May 27th, 17.00
PLAY_McLUHAN
Exhibition presentation by Sabine Breitsameter and students of the Hochschule Darmstadt

Event Details

All events are free and open to the public but spaces are limited so please RSVP at rsvp@mcluhan2011.eu, and arrive early to ensure enough time for embassy security.

If you are unable to attend, please join us online at mcluhan2011.eu/berlin. All RE-TOUCHING McLUHAN conference presentations will be streamed live and there will be opportunities to participate in a moderated online forum. To register your interest in our streaming programme, please contact Lalitha Rajan on lr@mcluhan2011.eu.

For more information visit mcluhan2011.eu/berlin or contact Michelle O'Brien on mo@mcluhan2011.eu.

Re-Touching McLuhan is a project of transmediale in collaboration with the Embassy of Canada and its Marshall McLuhan Salon with the support of the Government of Canada, the Deutsch-Kanadische Gesellschaft, Blackberry, the McLuhan Estate and the Gingko Press. The event is part of the McLuhan in Europe 2011 Network, initiated and directed by Stephen Kovats in collaboration with Michelle Kasprzak, celebrating the centenary of Marshall McLuhan and his impact on European Art and Media Culture.

Through The Vanishing Point was commissioned in 2010 by the Scotiabank CONTACT Photography Festival (Bonnie Rubenstein, curator) and the Faculty of Information McLuhan Program in Culture and Technology (Dominique Scheffel-Dunand, director) University of Toronto, Canada.or updates please check back to this page, subscribe to the transmediale newsletter or follow us on Facebook and Twitter.

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Fri, 27.5.2011 - 18:00

RE-TOUCHING McLUHAN - The Medium is the...

Marshall McLuhan Salon of the Embassy of Canada

Sun, 29.5.2011 - 14:30

McLUMINATIONS #1 - Screening and...

Marshall McLuhan Salon of the Embassy of Canada

Richard Cavell

Prof. Richard Cavell is the author of McLuhan in Space: A Cultural...

Dieter Daniels

Dieter Daniels is Professor of Art History and Media Theory at the Academy...

Lorenz Engell

Dr. Lorenz Engell is a professor of media philosophy at the Bauhaus...

Baruch Gottlieb

Baruch Gottlieb is a Montreal, Canada-born media artist exploring...

Lewis Kaye

Lewis Kaye is a sound artist and media sciences...

Derrick de Kerckhove

Derrick de Kerckhove, author of The Skin of Culture and Connected...

Liz Kotz

Liz Kotz is a Los Angeles-based critic and art historian. She is the...

Katja Kwastek

Dr. Katja Kwastek is an art historian and served vice-director of the...

Graham Larkin

Dr. Graham Larkin is Curator of European & American Art at the...

Martina Leeker

Independent lecturer for Theatre and Media-Science, Martina Leeker was...

Janine Marchessault

Professor Janine Marchessault, author of Marshall McLuhan: Cosmic Media...

Paul D. Miller aka DJ Spooky

Paul D. Miller, also most famously known as ‘DJ Spooky, That...

Claus Pias

Dr. Claus Pias is Professor for Media-History and Media Theory at the...

David Rokeby

David Rokeby is one of the world's pioneering interactive sound and...

Steffi Winkler

Steffi Winkler studied communication science and philosophy at Freie ...

Sabine Breitsameter

Sabine Breitsameter is a Professor in Media Art and Science at the...

Christopher Salter

Dr. Christopher Salter is an artist and Director of the Hexagram Centre...

Paul D. Miller aka DJ Spooky

Michelle — Tue, 22 Mar 2011 11:41:35 +0000

Miller, Paul D.

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Paul D. Miller, also most famously known as ‘DJ Spooky, That Subliminal Kid’, which is his stage name and self constructed persona, is an experimental and electronic hip-hop musician, conceptual artist, and writer. He was born in 1970 in Washington DC but has been based in New York City for many years. Paul Miller is a Professor at the European Graduate School (EGS) where he teaches Music Mediated Art. DJ Spooky is known amongst other things for his electronic experimentations in music known as both “illbient” and “trip hop.” His first album, Dead Dreamer, was released in 1996 and he has since then released over a dozen albums. He was the first editor of Artbyte: The Magazine of Digital Arts, which has since ceased publication. Miller’s articles have widely been published in, for example, The Source, The Village Voice, Artforum, Paper Magazine, Rap Pages, and many other magazines and journals. The theory behind Paul D. Miller's eclectic aesthetic can be traced through the book Rhythm Science. His ideas on digital media art center around the figure of the DJ as the generalized, post-subjective auteur of postmodern media. The idea of the mix is central to his work and his entire aesthetic, in which disparate connections are made between different times, cultures, and styles, through which something new can emerge. His approach is a source of controversy regarding his heterogeneous oeuvre, which creates unexpected bridges linking the art gallery to the dance club to the concert hall.

RE-TOUCHING McLUHAN - THE MEDIUM IS THE MASSAGE // McLuhan in Europe 2011 Centennial Weekend

RE-TOUCHING McLUHAN – THE MEDIUM IS THE MASSAGE McLuhan in Europe 2011 // Berlin Centennial Weekend May 27 – 29, 2011 transmediale, in collaboration with the Embassy of Canada Berlin and Marshall McLuhan Salon invite you to a key weekend event celebrating the legacy of...

Steffi Winkler

Michelle — Tue, 22 Mar 2011 11:34:21 +0000

Winkler, Steffi

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Steffi Winkler studied communication science and philosophy at Freie Universität Berlin, Germany. As a Berlin Funding for Graduates Scholar she is currently doing research at the Institute for Media and Communication Studies, FU Berlin and the Vilém Flusser Archive, UdK Berlin. Her doctoral thesis aims to explore the processes of transformations of media and communication structures and their connections to world projection and self conception.

Steffi Winkler studied communication science and philosophy at Freie Universität Berlin, Germany. She graduated with a master thesis about the conditions and transitions of the public sphere. For several years she has been responsible for Corporate Communications and Publishing working for different companies as well as a Corporate Identity Agency. As a Berlin Funding for Graduates Scholar she is currently doing research at the Institute for Media and Communication Studies, FU Berlin and the Vilém Flusser Archive, UdK Berlin. Her doctoral thesis aims to explore the processes of transformations of media and communication structures and their connections to world projection and self conception.

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Liz Kotz

Michelle — Tue, 22 Mar 2011 10:53:54 +0000

Kotz, Liz

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Liz Kotz is a Los Angeles-based critic and art historian. She is the author of Words to be Looked At: Language in 1960s Art (MIT Press, 2007), and has published essays in the catalogues The Anarchy of Silence: John Cage and Experimental Art (MACBA, 2009), Christian Marclay: Festival (Whitney Museum, 2010), and Konzept Aktion Sprache/Concept Action Language (Vienna: Museum of Modern Art, 2010), among others. She teaches Modern and Contemporary Art History at the University of California, Riverside, and is currently developing two projects, a collection of interviews with LA-based artists, and a book theorizing the multiple as it emerges c. 1960.

28 May 2011: RETOUCHING McLUHAN - THE MEDIUM IS THE MASSAGE Conference Lecture Abstract

Topic: Electro-acoustic systems

This talk will re-examine McLuhan’s legacy via the mid-1960s work of John Cage and his frequent collaborator David Tudor, in order to explore the intimate relations between 1960s media arts and concurrent projects in experimental music.

Since around 1960, with Cartridge Music (for “amplified small sounds”), Cage had integrated electronic technologies as central to his musical practice. And by 1965-1966, with the Variations V – VII, Cage and Tudor expanded this practice to the design and animation of elaborate electro-acoustic systems, including their projects for “9 Evenings: Theatre and Engineering” in 1966.

Efforts to think McLuhan’s work in relation to Cage’s work have often seized on McLuhan’s pronouncements about “auditory space” as characterized by total involvement, immersion and simultaneity, and newly globalized networks in which “everything is happening at once everywhere” – terms that Cage himself embraced. Yet Cage and Tudor’s pioneering electro-acoustic projects of the mid-1960s offer a different set of models for thinking about technology as an extension of the human body, as an extended nervous system that interpenetrates technological and physiological realms. In our efforts to theorize the emergence of a new electronic environments in the 1960s, these projects – which were intimately related to the emergence of expanded cinema and increasingly technicist models in the visual arts – have been largely neglected.

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Janine Marchessault

Michelle — Tue, 22 Mar 2011 10:48:40 +0000

Marchessault, Janine

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Professor Janine Marchessault, author of Marshall McLuhan: Cosmic Media (Sage Publications, 2005) and co-editor of Fluid Screens, Expanded Cinema (University of Toronto Press, 2007) is Research Chair in Art, Digital Media, and Globalization, York University, Canada. Janine Marchessault is the director of the Visible City Project + Archive which is examining new practices of media in a variety of urban contexts. She is also a co-investigator on the Future Cinema Lab, a joint research project with Film Professors John Greyson and Caitlin Fisher, based in the Faculty of Fine Arts at York University. Funded by the Canadian Foundation for Innovation, the Future Cinema Lab is a state-of-the-art digital media research facility devoted to ‘new stories for new screens.’ As Canada Research Chair in Art, Digital Media and Globalization, Dr. Marchessault is investigating how the information society is redefining the artist’s role and shaping urban contexts. Inherent in her work is the development of new research methods that use advanced media technologies to interpret the cultural ecologies of cities, with the ultimate goal of proposing new planning and policy strategies.

28 May 2011: RETOUCHING McLUHAN - THE MEDIUM IS THE MASSAGE Conference Lecture Abstract

Topic: McLuhan’s Fair: Expo ‘67 as Counterblast

"Bless / Expo 67 / for its manifestation / of Gallic levity and / its reversal of the / second law of / thermodynamics / by hotting up the / southern neighbor / by the Canadian / COLD FRONT:"

- Marshall McLuhan, COUNTERBLAST, 1969: 57

Expo ’67 held in Montreal to celebrate Canada’s centenary, represents one of the most important artistic experiments of the twentieth century. The fair showcased numerous tele-communications and audio-visual technologies, and was distinguished by its audacious media experiments. McLuhan’s aphorisms were literally woven into the very fabric of the Exhibition. Many have commented that the Exposition did not change the way films were made but the way they were seen. New forms of spectatorship combined with newly imagined theatres and screens, served to align media culture with architecture. This talk will focus on how Expo 67 dubbed “McLuhan’s fair” can be read as a utopian media city―a total environment. It examines Expo ‘67 in terms of a new international approach to architecture and urban planning that was both influenced by and influencing new forms of media production. Of course Expo itself, like all World Expositions, was driven by the economic and political interests of globalization. Yet perhaps one of the reasons that the utopian energies of ‘mondialisation’ were so strong was that this event coincided with the emergence of a global ecology informed by the technological humanism expressed in the thinking of R. Buckminster Fuller and McLuhan.

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Graham Larkin

Michelle — Tue, 22 Mar 2011 10:46:12 +0000

Larkin, Graham

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Dr. Graham Larkin is Curator of European & American Art at the National Gallery of Canada, where he recently reinstalled the collection of non-Canadian, pre-contemporary paintings, sculpture and decorative arts. In the field of information design he is a devotee of Edward Tufte, whom he assisted with various projects including the book Beautiful Evidence (2006).

Graham Larkin is Curator of International Art at the National Gallery of Canada in Ottawa, down the street from the McLuhan fonds at the national archives. While attending Harvard University he organized a conference on the materiality of print in early modern Europe, translated a book on garden designer André Le Nôtre, assisted information designer Edward R. Tufte with his book Beautiful Evidence, and completed a doctoral dissertation on the origins of the catalogue raisonné in early print albums. As a postdoctoral fellow at Stanford University he battled for academic freedom and taught classes in the histories of collecting, print and landscape representation. in Ottawa he has reinstalled the national collection of European and American Art, expanded his department to include art of the 20th century, and greatly enhanced the commitment to provenance research. His exhibition on pop art pioneer Richard Hamilton runs from 27 May through 28 August at The Rooms in St. John’s, Newfoundland. His next project surveys the Canadian reception of postwar American art during the 1960s.

29 May 2011: RETOUCHING McLUHAN - THE MEDIUM IS THE MASSAGE Conference Lecture Abstract

Topic: McLuhan As Media Practitioner

In a 1959 talk and a 1964 book McLuhan famously declares that “the medium is the message.” By 1967 the title of a typographically adventuresome book turns “message” into “massage." In each case McLuhan is urging his audience to care less about the apparent content of communication (what happens to be “on” TV or “in” a book) and more about the psychodynamics of the particular medium (the effects of television or the book per se). Ironically, later interpreters have viewed the medium=message/massage tenet as central to McLuhan’s thinking, yet have given remarkably short shrift to the ways in which his own messages are embedded in particular media. A truly McLuhanite approach to McLuhan would attend to his mastery of many forms of inscription, publication and broadcast, and would show how this media practice both constitutes and exemplifies his media theory.

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Lewis Kaye

Michelle — Tue, 22 Mar 2011 10:42:46 +0000

Kaye, Lewis

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Lewis Kaye is a sound artist and media sciences researcher. His current work, 'Through the Vanishing Point' (2010) in collaboration with David Rokeby, will be adapted to and installed in the Marshall McLuhan Salon of the Embassy of Canada in Berlin during the summer of 2011.

Lewis Kaye is a sound artist and media sciences researcher. His current work, 'Through the Vanishing Point' (2010) in collaboration with David Rockeby, was commissioned by the Scotiabank Contact Photography Festival and the McLuhan Program in Culture and Technology, Coach House Institute, Faculty of Information, University of Toronto. This site specific artwork, using McLuhan's archive of teaching and educational works, will be adapted to and installed in the Marshall McLuhan Salon of the Embassy of Canada in Berlin during the summer of 2011.

27-29 May 2011: RETOUCHING McLUHAN - THE MEDIUM IS THE MASSAGE Weekend

In 2010 I had the privilege of participating in a unique collaborative exhibition, Through The Vanishing Point, with Canadian electronic media artist David Rokeby. The context was the 2010 CONTACT Photography Festival in Toronto, whose theme for the year, "Pervasive Influence", explicitly drew on Marshall McLuhan's theories of media and in particular his understanding of photography. Our task was to use archival media content to reanimate McLuhan's presence within the confines of his Coach House offices on the campus of the University of Toronto. The Coach House is of course the home of the Centre for Culture and Technology (today the McLuhan Program in Culture and Technology), the epicenter of McLuhan's work, and a building that despite its relative shabbiness (or, perhaps, because of it) to this day still seems to radiate his intellectual dynamism and gravitas. My contribution sought to capture and communicate my own fascination with the place – and the ideas that gestated here – through the medium of sound, while David applied his vision through multiple synchronized projections of archival image and video. This talk will present documentation of the Through The Vanishing Point exhibition, along with a discussion of the media we drew upon, the singular importance of the Coach House as a venue, and the insights into McLuhan's ideas and processes that came from the realization of this very special, and very site- specific, exhibition.

RE-TOUCHING McLUHAN - THE MEDIUM IS THE MASSAGE // McLuhan in Europe 2011 Centennial Weekend

David Rokeby

Michelle — Tue, 22 Mar 2011 10:38:30 +0000

Rokeby, David

David_Rokeby.jpg

David Rokeby is one of the world's pioneering interactive sound and non-linear installation artist. His current work, 'Through the Vanishing Point' (2010) in collaboration with sound artist and media sciences researcher Lewis Kaye will be adapted to and installed in the Marshall McLuhan Salon of the Embassy of Canada in Berlin during the summer of 2011.

David Rokeby is one of the world's pioneering interactive sound and non-linear installation artist. Based in Toronto, Rokeby studied experimental art at the Ontario College of Art from 1979 to 1984 and has been creating interactive installations since 1982. He has focused on interactive pieces that directly engage the human body or involve artificial perception systems. Rokeby's best-known series of installations, Very Nervous System (1986 to present), was first displayed at the Venice Biennale in 1986 and has since been consistently shown around the world. Rokeby won the first Petro-Canada Award for Media Arts in 1988 and the Prix Ars Electronica Award of Distinction for Interactive Art (Austria) in 1991, 1997 with Paul Garrin and again in 2002. This same year, Rokeby won the Governor's General Visual and Media Arts Award. His current work, 'Through the Vanishing Point ' (2010) in collaboration with sound artist and media sciences researcher Lewis Kaye was commissioned by the Scotiabank Contact Photography Festival and the McLuhan Program in Culture and Technology, Coach House Institute, Faculty of Information, University of Toronto. This site specific artwork, using McLuhan's archive of teaching and educational works, will be adapted to and installed in the Marshall McLuhan Salon of the Embassy of Canada in Berlin during the summer of 2011.

RE-TOUCHING McLUHAN - THE MEDIUM IS THE MASSAGE // McLuhan in Europe 2011 Centennial Weekend

transmediale rss feed

Free Culture Incubator No 10 - A matter of form

Free Culture Incubator No 6: GET MORE OUT OF WHAT YOU DO – Mass Customization for Makers

RE-TOUCHING McLUHAN - THE MEDIUM IS THE MASSAGE // McLuhan in Europe 2011 Centennial Weekend

Paul D. Miller aka DJ Spooky

Steffi Winkler

2012

2011

Liz Kotz

2011

Janine Marchessault

2011

Graham Larkin

2011

Lewis Kaye

David Rokeby