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Founded in Coventry (England) in 1968 by Michael Baldwin, Terry Atkinson, David Bainbridge and Harold Hurell, Art & Language brought together the work that these artists had been creating jointly since 1965. A year later, they published the first issue of the homonymous magazine Art-Language, a publication that reflected on theoretical problems of conceptual art and became a platform from which to develop the group’s projects. During 1969 and 1970, Mel Ramsden, Ian Burn, Joseph Kosuth and Charles Harrison joined the group, which eventually ended up bringing together more than thirty artists in subsequent years. Since 1977, Art & Language has consisted of the artistic collaboration between Michael Baldwin and Mel Ramsden, with the theoretical contribution of the historian and art critic Charles Harrison, who died in 2009.
We looked at her work extensively today in seminar, but to recap and for further looking and reading, here’s a list of online materials. (Don’t forget there are quite a few catalogues in the KHM library; we also have a rare 1992 interview on VHS.)
The show at the Ludwig opens this Saturday. Also, on Friday 21. June, 2013, at 19h, there is a we’ll see the Europe-premiere of her new performance : “Men on the Line” (Museum Ludwig cinema.) Recommended!
2001 Little Frank and His Carp (Video, 6 minutes, on ubu.com)
2003 “Official Welcome (Hamburger Kunstverein)” (Video, 30 minutes, on ubu.com)
In part I this interview she talks about this piece and about the part where she strips naked. Quote:
“It is my body, in this underwear. And then I take the underwear off and I’m nude; I joke that, yes, I finally joined the grand old tradition of nudie performance art. And my other joke is that I’m not really nude because I’m in quotation marks. But, of course, I am.
Part of the reason I decided to do that was precisely to close that gap, to collapse the distance between myself as the artist named Andrea Fraser and these other positions that I was performing. And to make that distancing more difficult and problematic.”
In the 2nd part of the interview she talks about later works and writings, including “Men on the Line”, later to be shown here in Cologne (you can download the interview as a podcast here):
2011 Texte zur Kunst, “Speaking of the Social World” / “Über die soziale Welt sprechen” (German translation)
The Whitney website holds her contribution to the 2012 Whitney Biennial: “L’1% C’est Moi” & “There’s No Place Like Home”
CFP: The Second International Conference on TRANSDICIPLINARY IMAGING at the Intersections between Art, Science and Culture
Takes place on 22 * 23, June at Victorian College of the Arts, Federation Hall, Grant Street, Southbank, Melbourne 3006 Call for papers: Interference strategies for art Deadline for Abstracts: March 30, 2012
The Transdisciplinary Imaging Conference seeks papers that explore the theme of *Interference* within practices of contemporary image making. Today we*re saturated with images from all disciplines, whether it*s the creation of *beautiful visualisations* for science, the torrent of images uploaded to social media services like Flickr, or the billions of queries made to vast visual data archives such as Google Images. These machinic interpretations of the visual and sensorial experience of the world are producing a new spectacle of media pollution. Machines are in many ways the new artists.
The notion of *Interference* is posed here as an antagonism between production and seduction, as a redirection of affect, or as an untapped potential for repositioning artistic critique. Maybe art doesn*t have to work as a wave that displaces or reinforces the standardized protocols of data/messages, but can instead function as a kind of signal that disrupts and challenges perceptions. *Interference* can stand as a mediating incantation that might create a layer between the constructed image of the *everyday* given to us by science, technological social networks and the means of its construction.
The Transdisciplinary Imaging Conference wants papers that ask:
· Can art interfere with the chaotic storms of data visualization and information processing, or is it merely eulogizing contemporary media?
· Can we think of *interference* as a key tactic for the contemporary image in disrupting and critiquing the continual flood of constructed imagery?
· Are contemporary forms and strategies of interference the same as historical ones? What kinds of similarities and differences exist?
The conference will explore areasrelated to: Painting, Drawing, Film, Video, Photography, Computer visualization, Real-time imaging, Intelligent systems, Image Science.
Participants are asked to address at least one the following areas in
their abstract: –
* Expanded image
* Remediated image
* Expanded film
* Imaging science
* Computer Vision
* Networked Image
Professor Su BAKER Associate Professor Paul THOMAS
Brad BUCKLEY :: Brogan BUNT :: Ted COLLESS :: Vince DZIEKAN :: Donal FITZPATRICK :: Petra GEMEINBOECK:: JulianGODDARD :: Ross HARLEY :: Martyn JOLLY :: Leon MARVELL :: Anna MUNSTER :: Daniel MAFE :: Darren TOFTS ::
National Institute of Experimental Art, College of Fine Art, University of New South Wales; Victorian College of Art, University of Melbourne,.
Australian National University, CurtinUniversity, Deakin University; Monash University; Queensland College of Art, Gold Coast Griffith University; Queensland University of Technology, RMIT University, Swinburne University; University of Sydney, Sydney College of the Arts, University of Technology Sydney, University of Wollongong.
Ein Interview mit Nils Zurawski (Betreiber des Surveillant Studies Network, Hamburg) anlässlich der Ausstellung des Künstlers Alexander Steig im kunstraum muenchen.
Spricht unter anderem über ‘was ist CCTV’:
The project Gewächshaus Erinnerung by thon&beuse is concluded: documentation online under
Performative Installation, 30 Tigerbambusrohre, 2000 Meter imprägnierter Baumwollfaden, 100 Meter schwarzes Nylonseil, 100 Meter weisses Nylonseil, Draht, 1000 Sandwichboxen transparent, gesammelte/gespendete Erinnerungsstücke, gegossener Wurfanker, 2 Schekel. thonbeuse 2010
Schlagworte (Tags) Bewegungsmuster, Intim/Öffentlich, Erinnerungsmuster, Topographische Vernetzung/Verteilung, Erinnerung/Raum, Architektur, Baugeschichte, Erinnerung/Ritual, Erinnerung/Wandel, Kunst/Wort
Thon&Beuse still scratching in former NS->Ordensburg< Vogelsang.
Interview with the artists broadcasted by public sender WDR.
Sixth International Summer School
organised jointly by the EU FP7 project PrimeLife
and the IFIP Working Groups 9.2, 9.6/11.7 11.4, 11.6
Privacy and Identity Management for Life (PrimeLife/IFIP Summer School 2010)
to be held in Helsingborg, Sweden, 2nd – 6th August 2010
in cooperation with the EU FP7 project ETICA
After the success of the 2009 PrimeLife/IFIP Summer School, the European project PrimeLife and IFIP (International Federation for Information Processing, Working Groups 9.2, 9.6/11.7 11.4, 11.6) will continue their joint cooperation. This year they will hold an International Summer School on the topic of Privacy and Identity Management for Emerging Internet Applications throughout a Person’s Lifetime.
Emerging Internet Applications, such as Web 2.0 applications and cloud computing, increasingly pose privacy dilemmas. When they communicate over the Internet, individuals leave trails of personal data which may be stored for many years to come. In recent years, social network sites, where users tend to disclose very intimate personal details about their personal, social, and professional lives, have caused serious privacy concerns. The collaborative character of the Internet enables anyone to compose services and distribute information. Due to the low costs and technical advances of storage technologies, masses of personal data can easily be stored. Once disclosed, this data may be retained forever and be removed with difficulty. It has become hard for individuals to manage and control the release and use of information that concerns them. They may particularly find it difficult to eliminate outdated or unwanted personal information.
These developments raise substantial new challenges for personal privacy at the technical, social, ethical, regulatory, and legal levels:
- How can privacy be protected in emerging Internet applications such as collaborative scenarios and virtual communities?
- What frameworks and tools could be used to gain, regain and maintain informational self-determination and lifelong privacy?
Both IFIP, PrimeLife and ETICA take a holistic approach to technology and support interdisciplinary exchange. In particular, participants’ contributions that combine technical, legal, regulatory, socio-economic, ethical, philosophical, or psychological perspectives are welcome.
We are especially inviting contributions from students who are at the stage of preparing either masters’ or doctoral theses qualifications. The school is interactive in character, and is composed of keynote lectures and seminars, tutorials and workshops with PhD student presentations. The principle is to encourage young academic and industry entrants to the privacy and identity management world to share their own ideas and to build up a collegial relationship with others. Students that actively participate, in particular those who present a paper, can receive a course certificate which awards 3 ECTS at the PhD level. The certificate can certify the topic of the contributed paper to demonstrate its relation or non-relation to the student’s masters’/PhD thesis.
Related European, national, or regional/community research projects are also very welcome to present papers or to organise workshops as part of the Summer School.
A special one-day stream within the Summer School, to which abstracts/papers can be submitted directly, will be organised by the EU FP7 project ETICA on privacy and related ethical issues that arise from emerging information and communication technologies.
Cloud Core Scanner – IN THE TROPOSPHERE LAB of Agnes Meyer-Brandis
January 15, 2009 – February 27, 2010
Opening Hours: Monday through Saturday, 11 a.m. – 6 p.m.
Clouds, their formation and their substance, have long been a much-discussed topic in art and science. For artist Agnes Meyer-Brandis (Cologne, studies of mineralogy and sculpture), it was thus a unique opportunity to be invited by the German Aerospace Center to participate in one of its zero-g flights, which are primarily reserved for scientific purposes, and to work under conditions of temporary weightlessness on her art project ‘Cloud Core Scanner.’
Her current installation IN THE TROPOSPHERE LAB provides insights into the material produced under conditions distant from earth. The exhibition tells of the formation of clouds and shows conditions and combinations of art and science during zero gravity.
By supporting projects in frontier areas and at the interfaces of traditional disciplines, the Ernst Schering Foundation wants to pave the way for new ideas and thoughts. To this end, the foundation has organized a lecture program in conjunction with the ‘Cloud Core Scanner’ project and invites to use the discussion as a background for discussions with scientists working in aerosol (cloud) research. For topics & dates please have a look at: www.scheringstiftung.de
CONTEMPORARY TRAVELING MOVIE SHOW
During the exhibition, the Sophiensaele in Berlin-Mitte present Agnes Meyer-Brandis’ ‘MAKING CLOUDS, or ON THE ABSENCE OF WEIGHT – A Contemporary Traveling Movie Show’ on February 5 and 6, 2010. A combination of film, performance and lecture, the traveling movie show unites contemporary art with quite surreal forms of science. More information: www.sophiensaele.com