TheElectricKitchenSink

• Media Theory on the Move: Transatlantic Perspectives on Media and Mediation    (Tue, 09 Jun 2009 09:15:51 +0100)
  from: http://networkcultures.org/wpmu/weblog/2009/05/28/transatlantic/ Media Theory on the Move: Transatlantic Perspectives on Media and Mediation A Conference Report by Inge Ploum On May 21 2009, 15 media theorists and philosophers from Germany, Hungary, the United States and Canada gathered in Potsdam’s Am Neuen Palais (Germany) for an international conference on different perspectives, approaches and traditions in media theory. Media Theory on the Move was organized by Dieter Mersch, chairman of Media Studies at the University of Potsdam, his colleagues at EMW (Europäische Medienwissenschaft Department of the University of Potsdam), and four esteemed MA students, sponsored the Fritz Thyssen Stiftung für Wissenschaftförderung. For three days (program), a divers array of media scientists, theorists and philosophers had the pleasure of discussing their perspectives on media and mediation. Though the presentation titles ranged widely, from Joachim Paech’s ‘Popular Fiction, Popular Art and New Media: On the Way to Medienwissenschaft in 1970’s Germany’ to Peter Bexte’s ‘Prepositions and Things: Some Reflections on Relations’, the theme of movement continued to be the Ariadne’s thread throughout the conference. The constant motion of space and time surrounding our media landscape, coupled with our movements of thought on understanding media (ourselves and the world), turned out to be a challenging theme for discussion. It generated a heterogeneous debate including topics on the movements of interactivity, images, things, the symbolic, communication, time and contingency. In a challenging exploration of the problems floating through transatlantic media theory, philosophy and practice, ‘Media Theory on the Move’ prompted a creative and critical space-time to further develop discussions on the movement of movement. more ...
• nettime-i - Position in Flux comments    (Tue, 09 Jun 2009 07:33:02 +0100)
  from: http://www.nettime.org/Lists-Archives/nettime-l-0905/threads.html (Besser dort nachlesen) sehr interessante Diskussion als Nachlese des Symposiums "position in flux": Political Work in the Aftermath of the New Media Arts Crisis Geert Lovink Re: Political Work in the Aftermath of the New Media Arts Crisis Florian Cramer Re: Political Work in the Aftermath of the New Media Arts Crisis Matze Schmidt Re: Political Work in the Aftermath of the New Media Arts Crisis jaromil Re: Media Mutations - Life | Registration | Simulation (was: Political Work in the Aftermath of the New Media Arts Crisis) xname Re: Media Mutations - Life | Registration | Simulation (was: Political Work in the Aftermath of the New Media Arts Crisis) Matze Schmidt Re: Political Work in the Aftermath of the New Media Arts Crisis Renee Turner Re: Political Work in the Aftermath of the New Media Arts Crisis Florian Cramer Re: Political Work in the Aftermath of the New Media Arts Crisis Renee Turner Re: Political Work in the Aftermath of the New Media Arts Crisis jo van der spek Re: Political Work in the Aftermath of the New Media Arts Crisis carlos katastrofsky Re: Political Work in the Aftermath of the New Media Arts Crisis Rama Hoetzlein Re: Political Work in the Aftermath of the New Media Arts Crisis ben . craggs Re: Political Work in the Aftermath of the New Media Arts Crisis Brian Holmes Re: Political Work in the Aftermath of the New Media Arts Crisis Rama Hoetzlein Re: Political Work in the Aftermath of the New Media Arts Crisis carlos katastrofsky Re: Political Work in the Aftermath of the New Media Arts Crisis Rama Hoetzlein Re: Political Work in the Aftermath of the New Media Arts Crisis Brian Holmes Re: Political Work in the Aftermath of the New Media Arts Crisis Michael H Goldhaber Re: Political Work in the Aftermath of the New Media Arts Crisis eyescratch Re: Political Work in the Aftermath of the New Media Arts Crisis Florian Cramer
• Biennale Venedig - Launch Embassy of Piracy    (Mon, 08 Jun 2009 21:50:34 +0100)
  from: http://manetas.com/biennale/indexhibitv070e/index.php?/projects/embassy-of-piracy/
• Biennale Vendig - Der Internet Pavillion    (Mon, 08 Jun 2009 21:43:25 +0100)
  from: http://www.biennale.net/ The Internet Pavilion The Internet has been accepted as part of this year's Venice Biennial but not the Vatican. The Vatican church submitted a request for establishing its own, religion based, Pavilion in the Biennial but it was turned down, at least for this year. The Internet was accepted instead via the First Internet Pavilion. This text is the history and the present of the Internet Pavilion. It is written and constantly updated by Miltos Manetas and Jan Aman and it will incorporate opinions and ideas that will 'surface' on the Forum that can be found below at this page. Feel free to let your contribution and if you want, your name. Our intention is to re-define and we-write everything: all terms can be re-newed, all systems can be destroyed and build again. This Internet is cool but it is also a nightmare: a campus of un-forced work and a desert of screens. We want a new Internet and we want to be free from our machines, we want to be able to send an email without computers, blackberry and other devices. Ultimately, we want to satisfy the 3 Kleinrock complains: 1. We should be able to connect by any device 2. The device should be able to connect from anywhere 3. The device should be invisible, even immaterial. June 02,09 The Internet is this new cool and free country floating above all the older ones. That's where we go to do many different things, communicate, create, exchange. Sadly, most people go to the Internet only to work and they start hating it and hope that it will just go away. And they are right: computers and new technology are still in the domain of Science and for reasons of manipulation, are advertised as the “World of Tomorrow”. Instead of helping us do what we really want (work less or not at all), they enslave us and now we all work more. This is not the fault of the Internet itself though, but its because it is proposed and accepted as something virtual and futuristic. We now have enough with virtual and futuristic stuff, we want instead a new Internet and even new Internets that don't hypnotize us in front of computer screens, that help us destroy the system every time that this is possible and that ultimately are our friends and will never become tools of command and repression.
• Was macht eigentlich Alexei Shulgin?    (Tue, 02 Jun 2009 21:25:51 +0100)
  found on: http://www.vbs.tv/video.php?id=24669409001 In this edition of Motherboard, VBS tours Electroboutique, the electronics production company cum roving cyber-art kiosk of Russia's leading non-pornographic artist, Alexei Shulgin. Shulgin hasn't been hep to the internet from its very beginning, but he's definitely been onboard since at least the Compuserve days. In the early 90s, he was one of the first artsy types to adopt the then-brand-new World Wide Web as a medium, creating web pages filled with maddening arrays of random-seeming pictures and text blocks and hidden links to games and secret files and similarly weird and frustrating link pages, as well as helping curate the work of his net-art contemporaries. Shulgin was also the organizer of the world's first international exhibition of people's computer desktops. Part I Part II
• Sience Gallery - INFECTIOUS: STAY AWAY    (Tue, 02 Jun 2009 11:23:52 +0100)
  from:http://www.sciencegallery.ie/Infectious INFECTIOUS: STAY AWAY A free exhibition exploring mechanisms of contagion and strategies of containment. OPENING HOURS: 12:00-20:00 Tuesday-Friday? and 12:00-18:00 Saturday-Sunday? Science Gallery, Trinity College, Pearse Street, Dublin 2. Directions Please note that the exhibition is closed on MONDAYS. For groups of over 10 people please contact protectEmail('info', 'sciencegallery.com', '@');info um sciencegallery.com in advance. ARE YOU INFECTED? THE INFECTION HAS TAKEN HOLD. Over 23,000 individuals have already been exposed to the INFECTIOUS exhibition in the Science Gallery. If you are brave enough to enter the containment zone on Pearse Street you are advised to wear protective clothing. INFECTIOUS is a major new exhibition exploring mechanisms of contagion and strategies of containment through science and art including a live epidemic simulation, an opportunity to have your DNA swabbed from your cheek and analysed and to get up close and intimate with a Petri dish as you cultivate the bacteria from your lips in our Kiss Culture experiment. Looking for the results of your DNA test? Visit the PCR Lab page. WATCH THE INFECTIOUS VIDEO: -- more ...
• Heise.de - Preisträger der Ars Electronica 2009 stehen fest    (Tue, 02 Jun 2009 07:51:57 +0100)
  Beinahe übersehen ... aus:http://www.heise.de/newsticker/Preistraeger-der-Ars-Electronica-2009-stehen-fest--/meldung/139465 Preisträger der Ars Electronica 2009 stehen fest Anfang des Jahres wurde das neue Ars Electronica Center (AEC) eröffnet. Linz ist in diesem Jahr Europäische Kulturhauptstadt. Bild: Ars Electronica Die Veranstalter des Linzer Medienkunst-Festivals? Ars Electronica haben am heutigen Mittwoch die diesjährigen Preisträger des "Prix Ars Electronica" bekannt gegeben (PDF-Datei). Aus insgesamt 3017 Arbeiten wählten die Jury-Mitglieder? 22 Projekte aus, die nun mit "Goldenen Nicas", Sachpreisen, einem Stipendium sowie Preisgeldern bis 10.000 Euro geehrt werden. Das Gesamtpreisgeld beläuft sich in diesem Jahr auf 122.500 Euro – laut Veranstalter ist der "Prix Ars Electronica" damit der "weltweit höchstdotierte Wettbewerb für Medienkunst". mehr ...    
• Alexander Lehmann - Du bist Terrorist!    (Thu, 28 May 2009 19:55:09 +0100)
  Dies geisterete durch die Netzwelt und darf hier natürlich nicht fehlen. AUch um zu zeigen, was anderswo - FH Kaiserslautern - im Bachelor passiert: -- http://www.dubistterrorist.de/ respekt + gratulation
• presseanzeiger.de - Wie man das Web 2.0 in den Griff bekommt    (Thu, 28 May 2009 19:29:50 +0100)
  from: http://www.presseanzeiger.de/meldungen/it-computer-internet/283560.php 25.05.2009 12:12:42 (PA) Zahlreiche Unternehmen sehen sich in der interaktiv gestalteten Medienwelt mit neuen Herausforderungen konfrontiert. Wurde früher Werbung vor allem über den Vertrieb und die Buchung von Drucksorten geregelt, nimmt heutzutage das Direktmarketing überhand. Die Gründe dafür liegen auf der Hand: die Erreichbarkeit ist garantiert, das Kundensegment kann auf Personen genau spezifiziert werden, oft machen sogar die Kunden selbst den ersten Schritt und versorgen sich mit Informationen über Newsletter und anderen Instrumenten á la Twitter. Internet ist also der neue Vertriebsweg, um sich und seine Leistungen oder Produkte zu bewerben. Doch wo es Vorteile gibt, da sind auch die Nachteile nicht weit. [...]] Observer – Remover – Constructor heißen die drei Schlüsselbegriffe, die das Internet auch für ihr Unternehmen zu einer angenehmen Spielwiese in Bezug auf Online Marketing und Ruf-Management? werden lassen. Kommentar: mmmh falls jemand noch kein Thema hat ... evtl., geht da etwas automatisiert? ;-) mehr ... super mehr YEA!...
• we make money not art about Positions in flux    (Tue, 19 May 2009 08:51:44 +0100)
  from http://www.we-make-money-not-art.com/archives/2009/05/the-netherlands-media-art-inst.php please read also:  http://www.we-make-money-not-art.com/archives/2009/05/the-first-panel-of-positions.php  http://www.we-make-money-not-art.com/archives/2009/05/the-first-panel-of-positions-1.php  http://www.we-make-money-not-art.com/archives/2009/05/positions-in-flux-panel-1-art.php   The symposium focused on three of the most relevant topics of current media art practice: the relevance and involvement of new media art on the political and social sphere; new geographies in media art; the possibilities and challenges that the open source movement is proposing to the production of artworks or exhibitions. Given my total and shameful laziness i probably won't have/take the time to blog everything but the Netherlands Media Art Institute will upload the videos of the talks online in the future and i'll be sure to update this blog post when this happens. Susanne Jaschko, who curated and organized the conference, made a couple of very timely and interesting remarks in her introduction to the symposium. And that's where i'll start: Image from NIMK's Positions in Flux set There are some traces of an acceptance of new media art from the institutional art world. Last year, two exhibitions have highlighted this tendency: Deep Screen - Art in Digital Culture at the Stedelijk Museum in Amsterdam, a show organized with a double objective: getting a sample of contemporary media artists living in The Netherlands and buying some artworks to be added in the permanent collection. The second exhibition, Holy Fire at iMAL in Brussels, had the so far very unusual purpose to explore how new media art, bypassing all the stereotypes connected with its presumed immateriality and difficulties of maintenance, was able to enter the art market. Media art has come a long way since the NIMK opened. Which does not mean that the self-conception of the whole field is not as cloudy as ever: some say that new media art has never become mature, others believe that it has reached its peak in the '90s, others would add that new media art will never integrate concepts of contemporary art, etc. Not only is the Netherlands Media Art Institute celebrating its 30th anniversary, but Transmediale has just turned 20 and Ars Electronica is going to be 30 this year, it's time to take a critical look at where we are now and which directions we want to take. There was a time when cultural funding bodies set the course but things started to take another turn when, in 2003, the Walker Art Center decided to reduce its media art programme to a minimum and last year the whole media art community was shocked by the news that the Institute of Contemporary Art in London was closing its performance and new media program. Artistic Director Ekow Eshun justified the decision as follows: As an institution dedicated to the contemporary moment it is important that we continually review the timeliness and relevance of our activities and at times make decisions on that basis. New media based arts practice continues to have its place within the arts sector. However it's my consideration that, in the main, the art form lacks the depth and cultural urgency to justify the ICA's continued and significant investment in a Live & Media Arts department. Following discussion with the ICA Council and the Arts Council - and agreement from both bodies - I have decided to close the department. At the other end of the spectrum, LABoral Art and Industrial Creation Centre, which opened in 2007, has proved over and again that it is possible to fill its gigantic white space with new media art exhibitions of great quality. And, once again, the exhibition Deep Screen at the Stedelijk has shown that some contemporary art institutions see the relevance of new media art. So what does it mean today to be an artist in a networked society? Artists, curators and institutions today work on grounds that are increasingly loose, they struggle to define themselves. Technology -though it has lost much of its fascination- has the potential to enrich art, culture and society. It is one of the driving forces of today's society and culture, it has brought important discussions about public domain, commitment, open source, etc.   read more ...  
• Geert Lovink - Political Work in the Aftermath of the New Media Arts Crisis    (Tue, 19 May 2009 07:45:59 +0100)
  from: http://networkcultures.org/wpmu/geert/2009/05/11/political-work-in-the-aftermath-of-the-new-media-arts-crisis/ On the event of the Montevideo/Netherlands Media Art Institute 30th anniversary, departing curator Susanne Jaschko put together a one day symposium entitled Positions in Flux. Régine Debatty at We Make Money Not Art blogged about it. Unfortunately, I was only able to attend the morning session. The event on May 8 2009 took place in Trouw Amsterdam, the followup of Club 11. From what I heard, Positions at Flux had a critical take towards the common media art discourse and asked relevant questions. It was a relief to see that the attention was, for once, not focused on history, preservation and conservation. Cultural heritage has already taken over way too much attention space–in part because this is one of the few areas where there is still plenty of funding. Sigh. Just for one day, no celebration of “medium religion” or “art meets science”. Director Heiner Holtappels opened by noticing that new media art is not easily accepted by fine art. Traditional art has become eclecticism. According to Heiner, all art is technology based. The subject of the symposium was a visible break with the video art heritage that Montevideo has been known for. Politics topics, a courageous step? “Is there a future for us?” is a question not many institutions dare to ask. In the Dutch daily De Volkskrant of that day, ex-Montevideo curator Bart Rutten (now Stedelijk Museum) took up the role of expressing the ambivalent feelings of the Dutch art establishment towards the new but no longer young art form. Whereas he praised Montevideo’s work, he himself had moved on. “You can ask yourself if Montevideo should continue to show only media art works. In this way they preserve their specialism. It was my main reason to leave.” more ...
• Open Source Dienstleister werden Beschwerde einreichen gegen nicht-submissionierte ...    (Tue, 12 May 2009 08:06:17 +0100)
  Open Source Dienstleister werden Beschwerde einreichen gegen nicht-submissionierte Software-Beschaffung? des Bundes Die Bundesverwaltung hat mit Microsoft einen Drei-Jahres-Vertrag? über 42 Millionen Franken abgeschlossen ohne eine öffentliche Ausschreibung getätigt zu haben. Mehrere Open Source Dienstleister haben sich nun zusammengeschlossen und werden eine verwaltungsrechtliche Beschwerde einreichen. Weitere Informationen
• transmediale Award 2010 - Call for Entries    (Thu, 07 May 2009 07:19:05 +0100)
  // transmediale Award 2010 // // Vilem Flusser Theory Award 2010 // transmediale.10 festival for art and digital culture berlin 03 - 07 February 2010 CTM - club transmediale.10 festival for adventurous music and related visual arts 29 January - 6 February 2010 Call for Entries Deadline: 31 July 2009 Award Ceremony: 6 February 2010, Haus der Kulturen der Welt, Berlin Complete call, registration information and online submission form at: http://www.transmediale.de/en/call2010-main As leading international festivals for art and digital culture as well as adventurous music and related visual arts, respectively, transmediale and CTM (club transmediale) are inviting submissions to the transmediale Award Competition 2010 and the Vilem Flusser Theory Award 2010. Invited are art works, projects and positions that respond to the challenges of our rapidly changing digital, technological and networked cultures. The transmediale Award seeks innovative, experimental and visionary works across a wide scope of form, process and practice that embrace, question and enrich our understanding and relationship to our immersed media and technologically driven society. Entries that exemplify new and critical forms of digital expression and interaction are encouraged, as are works from countries and regions in which digital art and culture are emergent. Submissions of art works for both festivals participate in the transmediale Award 2010 while theoretical abstracts, papers and research oriented positions are invited for the Vilem Flusser Theory Award, with prizes totaling 10.000 EURO. transmediale presents and pursues the advancement of artistic positions reflecting on the socio-cultural, political and creative impact of new technologies, network practices and digital innovation. As a festival aiming to define the contours of contemporary digital culture, it seeks out artistic practices that not only respond to scientific or technical developments, but that shape the way in which we think about and experience the technologies which impact virtually all aspects of our daily lives. As such, transmediale understands media technologies as cultural and aesthetic techniques that need to be embraced in order to comprehend, critique, and shape global societies. CTM (club transmediale) is dedicated to contemporary electronic, digital and experimental music and sound creation, as well as the diverse range of artistic activities and social practises that develop within and connect to those audio cultures. Thus, the festival reflects on the agency of contemporary sound creation within the cultural fabric of society and its technological and social transformations. It explores the intersections of contemporary music and audio art with other artistic forms and cultural fields. A special emphasis is put on the creative use of new technologies, the interplay of sound with other media formats, the situational potential of live performances, the formation of social networks, and the advancement of a positive form of globalization. Previous transmediale Award winners have included renowned artists such as Herman Asselberghs, Shilpa Gupta, Graham Harwood / Richard Wright / Matsuko Yokokoji, Zhou Hongxiang, Istvan Kantor, Thomas Koener, Julia Meltzer/David Thorne, Agnes Meyer-Brandis?, Netochka Nezvanova, schoenerwissen, ubermorgen.com, Adrian Ward, Herwig Weiser and 242.pilots. The Vilem Flusser Theory Award, in collaboration with the _Vilem_Flusser_Archive of the University of Arts (UdK) Berlin, has been awarded to Simon Yuill (2008), Denis Roio aka jaromil and Brian Holmes (2009). Jury of the transmediale Award 2010 are Michelle Kasprzak (Edinburgh), Jose Luis de Vicente (Barcelona/Madrid), Li Zhenhua (Beijing/Zurich), Yves Bernard (Brussels), Doreen Mende (Berlin/Karlsruhe). Vilem Flusser Theory Award 2010 advisory committee members include Marcel Marburger (_Vilem_Flusser_Archive, Berlin), Oliver Grau (Danube University Krems) and Sabeth Buchmann (Academy of Fine Arts, Vienna) transmediale Advisory Board are Alex Adriaansens (Rotterdam), Dr. Marie Cathleen Haff (Berlin), Prof. Saskia Sassen (New York), Yukiko Shikata (Tokyo). transmediale is a project of the Kulturprojekte Berlin GmbH, in cooperation with the House of World Cultures and funded by the German Federal Cultural Foundation. CTM is a project by DISK / club transmediale GbR funded by Hauptstadtkulturfonds and DISK Initiative Bild & Ton e.V. We look forward to your proposals, and apologies if you have already received this announcement through other channels, stephen kovats artistic director ------------ transmediale.10 | 3 - 7 feb 2010 festival for art and digital culture berlin transmediale Award 2010 submissions: http://www.transmediale.de/en/call2010-main ------------ klosterstr. 68 - 10179 berlin - germany fon +49 30 24749 761 fax +49 30 24749 763 http://www.transmediale.de kulturprojekte berlin gmbh aufsichtsratsvorsitzender volker heller geschäftsführer moritz van dülmen amtsgericht berlin charlottenburg, HRB 41312 B ------------ __ SPECTRE list for media culture in Deep Europe Info, archive and help: http://coredump.buug.de/cgi-bin/mailman/listinfo/spectre
• In was für einer digitalen Gesellschaft wollen wir leben?    (Tue, 07 Apr 2009 09:23:15 +0100)
  aus: http://blog.stuttgarter-zeitung.de/?p=7020 link zum artikel. Empfehlenswert. Zitat: UND ICH WÜNSCHE MIR, in einer digitalen Gesellschaft zu leben, in der das Projekt der Aufklärung mit aller Kraft fortgeführt wird. Aufklärung ist die Quelle, aus der das frische Wissen kommt. Information wird die Welt retten, so lautete die Vision der neunziger Jahre, das Wissen der Menschheit liege vor uns im Zugriff. Wo stehen wir heute? Noch sind nicht ganz so viele Menschen wie im Mittelalter wieder davon überzeugt, dass sich die Sonne um die Erde dreht, aber es wird daran gearbeitet. Die Globalisierung der Dummheit macht erstaunliche Fortschritte. Begriffe wie “Lebenslanges Lernen” sagen uns, dass Wissen immer schneller von Entwertung bedroht ist. Natürlich ist nichts gegen einfachen Zugang zu Information einzuwenden. Aber allzu leichter Gewinn verdirbt die Freude am Spiel. William James sagte, wenn das einzige Ziel des Fußballspiels darin bestünde, den Ball ins Tor zu bringen, wäre die einfachste Art zu gewinnen, den Ball nachts heimlich dorthin zu tragen. mehr ...
• ZEIT - Big Brother in Paris    (Thu, 02 Apr 2009 07:26:04 +0100)
  aus: http://www.zeit.de/online/2009/14/pariser-metro Von Gero von Randow, Paris | © ZEIT ONLINE 1.4.2009 - 19:18 Uhr In der Pariser Metro werden große Bildschirme installiert, die für die Werbewirtschaft das Bewegungsverhalten der Menschen aufzeichnen. Die Datenschützer sind alarmiert. 1,60 Meter sind sie hoch und hängen an den Wänden der Pariser Metro, die kamerabewehrten TV-Schirme. Im Bild die Station Gare du Nord Wie überdimensionierte iPhones sehen sie aus, die 1,60 Meter hohen Bildschirme, die in der Pariser Metrostation Étoile angebracht sind. Bisschen dick vielleicht. Steckt da etwas drin? Sieht aus wie ein iPhone - und filmt die Menschen in den Metro-Tunneln? © http://www.metrobus.fr/numerique/numeriflash.html Oh, ja! Nämlich optische Messgeräte für die Bewegungsanalyse. Die Kameras sollen erfassen, wie lange die Leute vor den Bildschirmen stehen bleiben, und von welchen Bildern sie sich visuell fesseln lassen. Rechenverfahren, gegründet auf Wahrscheinlichkeitstheorien, sollen die Daten analysieren und die Ergebnisse für die Werbekunden aufbereiten. In den kommenden Wochen will die Metrogesellschaft RATP insgesamt 400 dieser Werbetafeln der Firma Metrobus installieren und 800 weitere wird die Bahngesellschaft SNCF bis Ende des Jahres aufstellen. -- !textmehr ...
• Ein Prozessor aus Nervenzellen und Synapsen    (Tue, 31 Mar 2009 09:04:16 +0100)
  aus: http://www.heise.de/newsticker/Ein-Prozessor-aus-Nervenzellen-und-Synapsen--/meldung/135401 Ein internationales Team aus europäischen Wissenschaftlern hat einen Siliziumchip entwickelt, der ähnlich wie das menschliche Gehirn arbeiten soll. Mit 200.000 künstlichen Nervenzellen, die über 50 Millionen Synapsen miteinander verbunden sind, soll der Prozessor die Lernfähigkeit des Denkapparats genauer abbilden als jede Maschine zuvor, berichtet Technology Review in seiner Online-Ausgabe?. Obwohl der Chip nur einen Bruchteil der Neuronen und Nervenverbindungen besitzt, über die der Mensch in seinem Kopf verfügt, lasse sich das Design doch hochskalieren, erläutert Karlheinz Meier, Physiker an der Universität Heidelberg, der das sogenannte FACETS-Projekt ("Fast Analog Computing with Emergent Transient States") koordiniert. Die Hoffnung der Forscher liegt darin, die Struktur des Gehirns möglichst genau nachzubilden, um zu ermitteln, wie sich massiv parallel arbeitende, leistungsstarke neue Rechner bauen lassen. [http://www.heise.de/newsticker/Ein-Prozessor-aus-Nervenzellen-und-Synapsen/meldung/135401| mehr ...]
• The AN/FSQ-7 on TV and in the Movies    (Mon, 30 Mar 2009 18:43:35 +0100)
  from: http://sturgeon.css.psu.edu/~mloewen/Q7/ The USAF AN/FSQ-7 (SAGE) computer systems were the largest computers ever built, and were responsible for keeping a radar eye on our air space for more than 25 years until decommissioned in 1983. The Q7 was also a special effects dream, with more lights, switches and vacuum tubes than any other piece of hardware, and found its way into many science fiction movies and television programs over the years. I served in the US Air Force from 1982 until 1986, and was in one of the last groups of computer maintenance technicians trained to work on the Q7. I was stationed at McChord? AFB in Tacoma, WA, and worked on the Q7 there from January through August of 1983, before heading back to school for training on the newer (ROCC) system. McChord's Q7 was finally turned off in the Fall of 1983. I've been a science fiction fan ever since I could read, and have always been fascinated by robots and computers, the more lights and switches the better. I used to watch Irwin Allen's Time Tunnel series, and finally realized after I left the Air Force that the computer system in the tunnel complex was comprised of sections of the old AN/FSQ-7! After that, I started to look for the Q7 in other movies and TV programs. I've collected some pictures from various web sites as well as video captures from my own collection, and posted them here. Enjoy! -- more ...
• Waves - The Art of the Electromagnetic Society    (Thu, 26 Mar 2009 14:30:54 +0100)
  from: http://www.neural.it/art/2009/03/armin_medosch_rasa_smite_raiti.phtml HMKV/Kettler, ISBN 9783941100008, Germany, 2008, English Armin Medosch wisely reminds us in the beginning of his introductory essay that "we've been an electromagnetic society for over one hundred years". Waves are all over us, invisibly filling up the space as more and more electronic wave- emitting and receiving devices surround us. After a historical exhibition in Riga in 2006, this latest exhibition at the Dortmund Hartware MedienKunstVerein? goes some way towards extending the long-time research that has been conducted in the last decade by the Latvian RIXC centre. There, after the first few issues of the seminal "magazine" Acoustic Space, where many of the net.audio experiments were born, the access to the giant RT-32 radiotelescope provided a fantastic excuse to move the research forward. The latest edition of "Waves" was a strong exhibition concept that helped to free up the strict association between waves and radio, giving electromagnetic waves a unique status as an agent in the overcrowded communication world. "Waves" beyond "carrying a message" perform a lot of other functions, including activating or checking for the presence of other devices, and also polluting the environment to a still unknown extent. This pervasive and invisible world is explored extensively and in multiple directions through the careful selection of almost forty works, that are influencing our psyche, both because of their physical characteristics (their waves are affecting our brainwaves) and their cultural potential.
• call: One Minute Film & Video Festival Aarau/CH    (Tue, 24 Mar 2009 11:43:01 +0100)
  from: http://www.nmartproject.net/netex/?p=865 Call for entries Deadline: 31 May 2009 One Minute Film & Video Festival Aarau The Festival A Film of 60 seconds duration is only limited in the dimension of time, because to the creative Exploration and the wideness of experimental possibilities are set only a few bounderies, if any. Indeed, very often this extreme Form of short Film is a great source and inspirational platform for very concentrated, creative and extraordinary works. The international One Minute Film & Video Festival Aarau was founded in 2003. It offers a pragmatic public platform for this special and interesting Filmformat. Beside the international competition the visitors can discover also a selection of other 1minute Festivals from around the world. These Selections are an important part of the Festival too. Altogether there are about 1000 One Minutes shown during the three days of the Festival. Filmmakers can present their Films at the filmmakers-brunch and there is Time and Space for questions and critics. Come and enjoy comedy, drama, philosophy and creativity in the rhythm of a minute. The Competition The Competition is the heart of the Festival. Every film that keeps to the limit of 60 seconds, can participate in the competition. The One Minute jury is responsible for announcing one award winning Film in each of the five categories: Fiction/Documentary, Art/Experimental, Animation, U20/Youth, Best Argovian Film Each One Minute Award includes prize money of 500 swissfrancs. The public is responsible for voting for their three favourite Films too. The Pulbic Awards includes a Videocamera and video editing software sponsered by HomeElectronic?. Entry form http://www.oneminute.ch/index.php?page=filmanmeldung2&hl=en_US Regulations 1. Generally Films must be no longer than 60 seconds. 2. All entries must be of broadcast quality. 3. Prizes and Awards The One Minute Jury will award the following prizes: One Minute Award Best Animation (500 CHF) One Minute Award Best Fiction/Documentary(500 CHF) One Minute Award Best Art/Experimental(500 CHF) One Minute Award Best Youth/U20 (500 CHF) One Minute Award Best Argovian Film (500 CHF) The Audience will award the One Minute Audience Award (CHF 500CHF) 4. Movies can be sent by mail or uploaded by internet (via SENDSPACE - www.sendspace.com). Please send the Downloadlink to protectEmail('info', 'oneminute.ch', '@');info um oneminute.ch or use FileBox? - http://www.oneminute.ch/index.php?page=filmupload&hl=en_US 5. The following formats are accepted: Physical: miniDV, DVD, Data CD Data: export your movie as Quicktime or .avi at 720×576 pixels with dv-pal compressor, 25 frames per second and 48kh sound. 6. Postal item: DVD`s and miniDV Tapes will be returned on request only. Expenses for return shipment of DVD`s and miniDV Tapes are to be paid by the addressee. 7. All tapes and dvd s from non-EU member states must be sent with a customs declaration on the packaging stating the following: “For temporary, cultural purposes only. No commercial value.” 8. Copyright: The maker declares that he/she has the copyright of the work and should be regarded as the sole maker. 9. Entry Fee There is no entry fee. 10. Deadline: 31.05.2009 One Minute Film & Video Festival Aarau Postfach CH-5001 Aarau Switzerland protectEmail('info', 'oneminute.ch', '@');info um oneminute.ch www.oneminute.ch
• Schafe hüten extrem ...    (Tue, 24 Mar 2009 11:10:24 +0100)
  from: http://www.schockwellenreiter.de/2009/03/23.html#schafehtenExtrem Arduino macht es möglich: