One Second Artist Residency

leapsecond3s

Open call for residencies and artists.

Register at http://leapsecond.date
Or contact leapsec@noemata.net

Submission deadline: 24.12.2016


We'd like to invite you to this virtual flash residency program taking
place at the Leap Second Festival. The program is an art project in itself
and obviously doesn't require much resources from neither residencies
norartists (no money or physical space is necessarily involved), only
an interest in exploring the concept of 'residency' in an art and
technology setting in creative ways. For instance, using networking
tools an artist can communicate in real time with a residency during
the leap second residency period, for instance, checking how the
residency web server implements the leap second! Which amounts to the
same as an artist asking "Does this residency I have really exist?".
For this reason we might then even go as far as consider the inclusion
of non-collaborative (or non-existing) residencies (and the artist as a
one second squatter/hacker). If this sounds interesting to you either as
artist or artist residency, we'd be glad to include you in the program!


This is a dating service between artists and art residencies that last
one second. All residencies take place at leap second on New Year's Eve
Dec 31 2016 23:59:60 UTC and last until Jan 1 2017 00:00:00 UTC.
Notice that despite lasting only one second the residencies span over
two years (2016-2017).

A leap second is an extra second between :59 and :00 that is left
invisible on our watches and most computer systems. It's usually faked
using three glitchy processes - repeat, freeze, smear - to correctly
adjust clock-time to the rotation of the earth. For us it means an
opportunity to intervene in the flow of time creating a synapse for new
connections.

How does this artist-residency dating service work?
An artist applies for a residency and is automatically matched to an
available one (if possible). Or an art residency registers and is
automatically matched to an available artist (if possible).

What can be done during a one second virtual flash residency?
Even though the time is short, a computer handles billions of operations
during one second. Real communication is possible using for instance
networking tools. This project also poses a question what a 'residency'
or a 'date' means in terms of the virtual networks we live and work in.

About the Leap Second Festival
The Leap Second Festival is a distributed, decentralized event for art,
technology and precarity, coordinated on the net. This is the third
festival in the series. The festival is held on leap seconds announced by
IERS (International Earth Rotation and Reference Systems Service). The
previous festivals in 2015 and 2012 saw more than 100 works worldwide, from
split-second videos, audio and musical works, to conceptual- and
instructional art, network- and time specific performances, and sculpture.
The festivals have support from the Arts Council Norway.


One Second Artist Residency
Open call for residencies and artists

Register at http://leapsecond.date
Or contact leapsec@noemata.net

Submission deadline: 24.12.2016

Songs for the Leap Second

leapsecond3s

Open call for music and audio-works.

Formats: Sound: mp3, ogg. Image: jpeg, png, gif.

Submission deadline: 24.12.2016

Contact info: leapsec@noemata.net



We're compilating a soundtrack album for the leap second - songs and
audio-works made/adapted/remixed to fit the leap second event. We're
interested in material that in one way or another incorporate the leap
second format of one second, or technology or ideas related to it.
Specifically we're looking for:
  • Remixes of (mainstream) songs so that they contain an extra second.
    This extra second can be mixed into the song with one of three methods:
    repeat, freeze, smear. Each of these methods mirror how the leap second
    is handled by common time devices (clocks, computer systems) – ‘repeat’
    means the :59 second is repeated (to make up for the extra leap second.
    UNIX systems implement this method); ‘freeze’ means that the :59 second
    is frozen for an extra second; ‘smear’ means the leap second is smeared
    out over a larger period to avoid problems inserting the leap second (to
    my knowledge Google implements this method in their system). As this
    album will have a dedicated radio broadcast during the festival we want
    these radio songs to be one second longer than usual to fit the event –
    we want the songs to reflect that they’re being played through a leap
    second. Practically, to remix a song one second longer with a repeat,
    freeze, or smear technique could amount to different sorts of glitch
    editing of the original material.
  • Secondly, we’re interested in original audio-works that relates to
    the leap second. Glitch and noise material is relevant to the leap
    second as an intervention in time, and as a result of the earth’s
    wobbling and noise in its spinning around the sun.
  • We’re also interested in more conceptual works related to sound and
    time, or works in other media that refers to it. These works will be
    included in the compilation as seen fit (for instance image,
    description, and/or reference).

    We’re eager to hear any output and to include it in the compilation!

    There’s another aspect of the leap second in relation to songs that I
    want to emphasize:

  • The effect of adding an extra second to a song is to tilt it out of
    rythm, into an off-beat, syncopated or altered perception. This can be
    done by way of remixing or by creating original audio-works. The
    background for this idea is that 1) I had the chance to see some clocks
    showing the leap second, :60, on their display. When watching, it seemed
    the extra second had a kind of syncopating effect, as if you were thrust
    out of the rythm of time – the 00, 01, 02, … they felt displaced.
    2) I’ve always found it interesting when I managed to get into a rythm
    of a song on the wrong beat, because then the whole perception of the
    song changes – its melodies and lines seem different, it seemed to be
    another song! It’s rather hard to keep yourself at this off-beat
    perception – very quickly you slide into the main rythm again… These
    are perceptional events that could relate to the leap second as a
    yncopator, a small unhinging out of the rythm of time, out of count.

    If you find this interesting, we’d be very pleased to receive your
    contribution to the album. Contact info: leapsec@noemata.net

http://noemata.net/leapsec/2016/songs.call.html

Leap Second Festival 2016: “JUST A SEC…” – AN UNTIMELY INTERVENTION

60-medium

 

Leap Second Festival 2016

Open call: Projects and works lasting one second or less.

Submission deadline: 24.12.2016

Contact info: leapsec@noemata.net


The festival takes place New Year's Eve, 31th December 2016 23:59:60 UTC on
the extra leap second squeezed in between 2016 and 2017. During this second
all the projects and works will be exhibited, performed, and executed.


LEAP SECOND FESTIVAL 2016: "JUST A SEC..." - AN UNTIMELY INTERVENTION

For the 2016 festival we are looking for works that emphasize a
collaborative, experimental, project-based approach that in various ways
embed the leap second idea and function as events in themselves. With its
awkward and impossible format, the focus of the festival is a questioning
of art and its appearance, materiality, objecthood, phenomenology, or their
negations or impossibilities, leading to an exploration of media in search
of itself as an appearing/disappearing form or questioning/rejecting it.

How can an artistic practice catch/reflect/express such a precarious
situation, an uncertain non-event, an immaterial/virtual moment, an
untimely, unsuitable intervention? And how can it challenge exhibition
models and force new ways of disseminating works?

We're also looking for projects and works exploring deviation, glitch, and
wobble; interventions in and hacking of the machination of time; reality
check and celebration of natural cycles alining systemic/conceptual cycles;
precarity as an unpredictable and insecure condition of a technology of
time and production affecting material/physical and social/psychological
welfare; a marginal and intermittent existence, short and discontinuous,
autonomous and freely self-inserted/-exploited/-realized/-precarizated;
untimely art, out of time, out of order, out of line, a defiant leap.


ABOUT

The Leap Second Festival is a distributed, decentralized event for art,
technology and precarity, coordinated on the net. This is the third
festival in the series. The festival is held on leap seconds announced by
IERS (International Earth Rotation and Reference Systems Service). The
previous festivals in 2015 and 2012 saw more than 100 works worldwide, from
split-second videos, audio and musical works, to conceptual- and
instructional art, network- and timespecific performances, and sculpture.
The festivals have support from the Arts Council Norway.

The Leap Second Festival 2012 and 2015 catalogues are available at
http://noemata.net/leapsec26/ and http://noemata.net/leapsec/


Deadline submission: 24.12.2016

Leap Second Festival 2016: 31th December 23:59:60 - 1st January 2017 00:00:00 (UTC)

Contact/Submit proposal: leapsec@noemata.net


ORGANIZERS

Ars Publica/noemata - http://www.noemata.net
BrowserBased group - http://www.browserbased.org


[Link to this call: http://noemata.net/leapsec/2016/ ]

#nfcdab_2 – Lawn Enforcement

lawnEnforcement_flyer2.F

Lawn Enforcement is a section of the #nfcdab proposed and organized by BrowserBased to cheer on and partake in Dominik Podsiadly’s 2nd iteration of #nfcdab, a DIY biennale. Dominik P. is an active presence on the scene and has been a  member of BrowserBased on Facebook. But cooperations with Mr. P. also go way further than Facebook and take place IRL, too. (See: NFC biennales, Wroclaw; ADAF 2015, Athens; Yami-Ichi, Amsterdam and Bring Your Own B*, Amsterdam).

At the core of the DIY biennales are NFC and QR techs that provide and establish, as a figure of speech, access points in versatile contexts of urban settings such as vacant plots, forking paths in parks and commuter trams. The temporary as well as independent character of these biennales preserve and fertilize much valued informal channels for participating artists and audiences.

The planter signs we chose because they are just as easy to place as to take away and re-enforce an important aspect, in the #nfcdabs, of whimsy!

 

Participating:
Cem Berendsen, Dave Hagen, Domenico Dom Barra, Dominik Podsiadly, Eltons Küns, Emilie Gervais, Florian Kuhlmann, Guido Segni, Jan Robert Leegte, Jeannot GrandLapin, Jonaas Westerlund, Joubin Zargarbashi, Julianne Aguilar, Karina Palosi, Laurus Edelbacher, Maaike Stutterheim, Maarten Schuurman, Philipp Teister, Rad0van Misovic, Tibor Horvath, Tobias Rothe, Wouter Smit, Zsolt Mesterhazy.

Opening: 5 – 7pm, 17.06.2016, Wyspa Słodowa, Wroclaw.
https://www.google.pl/maps/@51.116161,17.0380665,18z

More:
http://nfcwproject.tumblr.com/
https://www.facebook.com/groups/1nfcdabiennale/

Lawn Enforcement – Location: HQ, Wroclaw – Day -2:

Lawn Enforcement – Location: Wyspa Słodowa, Wroclaw – Day 1:

Lawn Enforcement – Location: Uniwersytecka, Wrocław – Day 2 & + +:

 

69.numbers.suck

1.flyer

With 69.numbers.suck BrowserBased follows certain types of graffiti on the public phone booths of Athens. By mapping the (re)appearance and cross-references of those writings, we read the everyday anarchic networks of scratch and pen, as they reuse in the way of quizzical nodes the withering public phone infrastructure in transition to “private” networks.

Going mobile is all location independent but addressed by the very written 69 prefix of crossed-over digits in obscured messages – are they squabbles or competitions? And? Readings of those glyphic scratches, brassed off phallic symbols, derelict prophecies, frappe stains, their patterns and misdialled callers reveal mostly fragments in hindsight.

The changing nature registered is shaped by streetwalkers, their paths and territories as they are being drawn and redrawn.

Browse with ease!

69.numbers.suck is a BrowserBased production by:
Alex Zakkas, Joubin Zargarbashi, rad0van misovic, Zsolt Mesterhazy

Thanks to http://2016.adaf.gr for the great festival!

Thanks to the Stimuleringsfonds for travel expenses and a roof above our heads!

http://furtherfield.org/features/digital-pop-review-12th-athens-digital-arts-festival

0,1 // assume both

1933793_10208732146725571_1610150158278651110_n

IMG_6720IMG_6695

0,1 // assume both
Does 0 mean off?
Does 1 mean yes?
// 011100110110111101110011

The nature of the real is disputable. Is the digital any different? Are they even separate?
Even though it is presumed that digital spaces are neatly organised – they are in fact as kludgy as the next space. Every slot has its own standard, every platform its own handle, every socket its own protocol. With “0,1 //assume both”, BrowserBased illustrates some of these ambiguities in a playful manner.

BrowserBased Group functions as a practice oriented, open research platform which deals with the browser based context and net-culture as a space for knowledge creation and dispersion. We organize live coding sessions, gatherings for guest speakers, workshops, international exhibitions and more.
Currently, the geo-marker of BrowserBased is set in Amsterdam, where the group was first formed from the need to organise a physical hub for the networked arts. We offer a platform for net art, maintain archives of recorded streams and our exhibitions and run an open page on Facebook. BrowserBased focusses on the progressive and dominant influence of the Internet, spurred on by the net being the central medium for communication, research, discourse, (re)presentation and art itself. Since we do not believe in geographical constraints and the governing academic conventions, we are constantly looking for collaboration with like minded, international communities.