KHALAVERA: no a nebyl by tam teda nejakej typ na nejakou knihu o soiologii umeni ? at tam mam aspon nejaky cesky knihy, neco sem nasel na books.google, ale stejne, diky

Ahoj,

srdečně TĚ zvu na vernisáž již 3.ročníku výstavy POD ČAROU - letos v industriálním
prostoru HALY C.
Doporučuji přijít VČAS na sedmou !


více na http://www.podcarou.com/

Thomas Rentmeister
























http://www.thomasrentmeister.de

CHRONOGASTER: diky moc :) kriticky pristup je u tyhle prace nutnosti :)

THRAWN: zkus knizku Suzi Gablik, Selahla moderna? ale nezapomen k tomu pristupovat kriticky;)

Eva Schindling - Cinematic Particles

Film dialog, taken from subtitle files, defines movement and appearance of particles that leave traces on the screen. Smoky watercolor drawings emerge from each movies individual frequency of spoken words and their letters.

Several particles move across the screen according to their individual acceleration and velocity values. Each particle is fed a letter of the current displayed movie dialog. The amount of active particles is defined by the amount of letters in the subtitle line. The letter influences the particles movement dynamics by adjusting the acceleration value into a calculated direction and changes its size by defining a growing or shrinking rate. Lowercase consonant letters are relocated to the position of the word's starting letter, while lowercase vocal letters bend their path towards the direction of the word's starting letter.

This fixed set of conditions lacks random actions and therefore causes the exact same drawing if run twice. Yet the applet allows the user to manipulate the drawing by either stopping the dialog replay or changing the playing speed. By hitting the pause button, the movie stops and the particles remain with the letter the have been fed right before. This allows the particles to follow their initiated pathways without constantly changing pace and direction.

Movies that are defined by rapid successions of spoken dialog produce drawings that consist mostly of black ink blobs that grow together, as the particles are constantly reset with new parameters. Movies that show long silent pauses between scenes gives particles more time to produce long lines and curves. By altering the replay speed of the movie, size and dynamic of the emerging drawings can be controlled.

The Apartment (1960)



Blade Runner (1982)



À bout de souffle (1960)



Pulp Fiction (1994)



http://www.evsc.net/v6/htm/cinematic.htm
http://www.evsc.net/v6/index.htm

SUMAC: [ NOIK @ moderní ::: postmoderní ::: současné umění ]

pro milovníky hnutí NEEN povinnost!


Angelo Plessas

Angelo Plessas work is part of a new generation of artists that use technology and the internet as their artistic tools, without making what is invariably called technological art, net art or new media. Instead this new generation makes art that sometimes is about the everyday reality of computer technology as much as it is about a new, computer related abstract poetry. Plessas uses websites not as places of information but as places where we can imagine meaning and experience objects. He uses the domain name as both the title of each piece and its web address. Since 2001 he is one of the basic members of ΝΕΕΝ.

http://www.angeloplessas.com/

ATOMIC: paráda, díky!!

MERNYT: Mika Rottenberg


mě krom těsta ještě bavil Mike Bouchet - Top Cruice

a další..
a vůbec, mě osobně ta výstava celkem potěšila...

me se docela libily ty tri acidovy kvetiny na zacatku od Lei Rodriguez myslim.. a projekce vsechny byly tak nejak ok. jinak to nestalo za rec, precenene a slabe

MERNYT: se proklijek http://www.galerierudolfinum.cz/cs/vystavy.php4?v=83 ,)

nepamatuje si prosim nekdo od koho byla ta videoprojekce testa?

co se tyce te vystavy v rudolfinu, take me moc nenadchla. jedine, co me zaujalo byla ta projekce na podlaze v posledni mistnosti.

celek mi prisel takovy vlazny, nesourody...
temata otrepana...
no nevim. cekal jsem neco vic.
(a nebyl tam ani jeden poradnej obraz.)

KHALAVERA: jako je to zajimavy, to ne ze ne :) dokonce to stim mozna ma i neco malo spolecnyho, nebo aspon mi prijde, ze umelcovo jmeno vznika po urcitym mixu, jakej ma vztah s kuratorem, ten s majitelem galerie, a uz je tu jakasi instituce, nebo rovnou instituce umelecky skoly, kdy te na klauzurach predstavuji lidem, ktery te pak muzou nekam zaradit. Myslim ze kdyby chtel bejt nekdo profi umelcem, ale nemel by umeleckou skolu, tak by to mel tisickrat tezsi (vyjimkou sou ceske pseudocelebrity :) )... a pritom mi prijde, ze studovat umeni zas takova drina neni :) teda apson v porovnani s jinejma vysokejma skolama... nebo co si o tomhle myslite ?

Daniel Firman
























http://www.danielfirman.com

THRAWN: sociologie umění/vkusu se zajímá o to, jak vzniká sociální postavení v relevantním výřezu společnosti, kterak je generována a užívána moc v uměleckém světě a vůbec jak po sociologické stránce funguje, ale to tě zjevně nezajímá

ATOMIC: no, to uz je lepsi.-)....dekuji

KHALAVERA: noo :) ja nevim co si predstavit pod sociologii umeni, tak teda neco o kritice umeleckych instituci, nebo i o tom jak ten umeleckej svet tedka funguje, neco o opusteni vystavnich prostor, land art a tak, happeningy, performance mimo galerie, neco kde se pise o lidech jako Hans Haacke, Alexander Brener, Joseph Boueys... no a abych to jeste upresnil, tak mam psat semku o nejakym umeleckym problemu, nebo ja nevim jak to presne popsat, jestli fenomenu, se slovickamam moc neumim, kterej se vyskytuje v umeni od sedesatejch let po dnesek, tak me napadla kritika institucionalizace umeni, sef rek ok, sezen si literaturu :)

SGNLR: však klidně se o tom bavte i tady