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3rd Near-Field Communication Digital Art Biennale – Call for works!

open call for works
Near Enough? – the amsterdam edition of the 3rd near-field communication digital art biennale – is calling for works! the idea is to take advantage of the potentials of near field (mis)communication and other sharing technologies for showcasing and making web-based digital art in outdoors settings. after gol(No) and warsaw(PL), #nfcdab#3 will come to amsterdam(NL) and go on to valencia(ES), wroclaw(PL) and possibly prague(CZ), berlin (DE), and athens(GR). the works are being shared between nodes! deadline for submissions is 31 july 2018!
exhibition dates: 5 -12 august 2018 with the exception of 11th.
technology:
NFC tags, QR codes, routers (free hotspots), sensors. 
keep in mind: A. human sensory pack, B. sensors in mobile devices, see: https://www.w3.org/2009/dap/
what we’re looking for:
– contextual, parasitic, virtual, imaginary, descriptive, phenomenological, mapping art.
– parasitic on art context and on human perception.
– the character is lo-budget and lo-tech, even to the degree of being ‘bricked’ (unresponsive) as a strategy against the spectacle which is technology.
– a focus on the relation between inert physical objects and their virtual counterpart in a broad sense being objects of our perception – coming alive, activated by innate or prostetic sensors.
– fictionalization, obfuscation, and muddling of information, activating associative, lateral, derailing storylines. a staging of events, not for common digestion all bombyx (written on a box of canned silk worm pupaes). there should always be the possibility that the biennale doesn’t exist. it may be a practical joke or simply a hallucination of arcane references found in public spaces, toilet walls, and bricked streets. 
– the works can be textual descriptions of possible or impossible artworks for the locations. invert works to ‘prompts’ for activating the subject ‘in place of the work’.
– alternative mapping strategies between physical and virtual.
– how the tech can be used to invert modes of exhibition and perception.
– people can act like sensors, works can be prompts – an activation of your innate senses.
– descriptive art, the code-tag can act as a prompt for people to write, to email, web or nfc message board.
– a description of a virtual or imaginary artwork, or reinterpretation of a real (or virtual!) work at site.
– hybrid object, virtual-real, the tag refers to its virtual counter-part, complement/undermine/commenting it.
– an object’s memory, available to the decoder, and collected by (mail/web/nfcboard).
– virtual graffiti, a camera obscura – creating of an inverted virtual-physical space.
– ambulating, walking, tagging, flaneur.
submit:
– content playable or bricked on mobile, portable devices, human senses and imagination.
– whatever you can conjure up related to the call, even if  it is of a contrary stance.
– interventions and tripwires.
– submissions should contain: title, author, url or file(s), sticker graphics fitting on 9x 4,5cm in a landscape orientation with QR code title, author + whatever. we will print, cut and paste them onto the plantersigns. multiple stickers with QR codes are possible when needed! see: more works or text based works that are longer than approx. 255 words presented only on QR code. if you wish you can send us a NFC tag or an explanation why you need a NFC tag! sorry, guys we are working with a shoestring budget! 
via email
    to: iheartmyart@browserbased.org
    subject: Near Enough? nfcdab# 2018
we will be greatful if you spread the word and forward the call!
organizers:
for the bird visit: http://joub.in/bird/lands/
online tools:
URL shortener: https://bitly.com/

 

Scripting the Other

Scripting the Other curated by noemata.net for thewrong.org.

Opening event, Nov 1, 2017 19:00 (CET/Paris time)
Performance reariting : Apparatus_is {Other-s}
By Annie Abrahams and Emmanuel Guez. With Nick Montfort, Zombectro, Renee Carmichael. Based on a text by Annie Abrahams. http://readingclub.fr/
Exhibiting artists
: Annie Abrahams, Mez Breeze, Ynfab Bruno, brokenenglish.lol, Renee Carmichael, Mark Cypher, Eurico Sá Fernandes, Emmanuel Guez, David Guez, Jan Robert Leegte, Anna-Luise Lorenz, Loveletter.exe, Christine Meinders, Nick Montfort, Geert Mul, Luke Munn, Jeneen Naji, Quenzamson, Antoine Schmitt, Selwa Sweidan, Enric Socias, Winnie Soon, Michael Szpakowski, Canek Zapata, Zombectro, zipIT.

– – – – – – – – – – – – – – – – – – –

SCRIPTING THE OTHER explores the notions of the Other and Otherness in online, performative scripting and writing. The idea is to use internet as an instrument of the Other, and antitheses to the echochamber of the self, and set up an interface towards it, as if communicating with or observing an undefined, unknown or unknowable entity, operating system, or AI. The exhibition examines text and text-visuals in meeting with an inordinant ‘Here Comes Everything’, the role and protocol of author, reader, viewer – entangled and undermined.
The exhibition is a pavilion in the third edition of The Wrong – New Digital Art Biennale (Nov 1, 2017 – Jan 31, 2018), http://thewrong.org.
The exhibition is organized and curated by Noemata (Bjørn Magnhildøen, Ana Buigues). The show is part of the project Other Writing initiated by Noemata and funded by Arts Council Norway, http://kulturradet.no. Noemata is a production site for digital and netbased art, http://noemata.net, affiliated with PNEK (production network for electronic art Norway), http://pnek.org.

Website
:
http://theother.online/

Publications:
http://esoteric.codes/post/168781863779/reading-as-writing-coding-as-public-performance
http://esoteric.codes/post/167276090838/portrait-of-a-web-server

Yami Ichi Brussels #2

Some images from Yami Ichi Brussels #2, 2017. It is was a great event thanks to IMAL and all who participated!

Photos: Alex Zakkas, Bjørn Magnhildøen, Jan Robert Leegte, Konstantina Mavridou and Zsolt Mesterhazy.

Leap Second Festival 2016

60-medium

Just a sec…
– an untimely intervention –
http://leapsecond.online/

WHEN
Saturday New Year’s Eve Dec 31 2016 23:59:60 and lasts one second until Jan 1 2017 00:00:00 (UTC).
Check what UTC (Coordinated Universal Time) is at your location: https://www.timeanddate.com/time/leapseconds.html
Check when the leap second happens at your location to make sure you don’t miss it: https://time.is/leapsecond/

WHAT
During the leap second all the works in the festival are exhibited, executed, performed.
This year we’ve emphasized collaborative, experimental, project-based works that in various ways embed the leap second idea and function as leap second events in themselves.

WHO
The festival is a distributed, decentralized event coordinated on the net.
There are around 140 participants in the festival, including the residency program.

&(Barbora Trnková & Tomáš Javurek), Agam Andreas, anonymous74, Dan Arenzon, William Bain, Domenico Dom Barra, Dennis De Bel, Diego Bernaschina, Sissel Berntsen, Browserbased group, Igor and Ivan Buharov, Christian Bøen, jonCates, Anna Chatziioannidi, Nick Collins, Martin Conrads, det0une (Edoardo Gaudieri), Dim Dx [Dmitry], Eros Dibra, g_host, Cleber Gazana, Emilie Gervais, Kyriaki Goni, GrandLapin, Gottfried Haider, Samantha Harvey, Erik Hesby, Isaac Andrés Espinoza Hidrobo, Tibor Horváth, iEstupor, INTERLICHTSPIELHAUS, Jan-M. Iversen, iwbdjdyatmvezdmnekzawvb, Timo Kahlen, Martin Kleppe, Jan Robert Leegte, Dimitris Leontzakos, Patrick Lichty, Robert B. Lisek, Anita Lugomer, Riccardo Mantelli and Sara Savini, Sherwin Altarez Mapanoo, Konstantina Mavridou, Microfost, Ortensio Lando, Lorna Mills , Laura Netzzz, Maia Nichols, Anne Niemetz, Pancrazio Leonardo de Padova, Simon Perathoner, Klaus Pinter, Dominik Podsiadly, PolakVan Bekkum, Miriam Poletti, Frère Reinert, Michael Ridge, Stefan Riebel, Nigel Roberts, Bence Rohánszky, Natallia Sakalova, Giovanni Salice, Vijay Kumar Sappatti, Alan Sondheim, Shivkumar K V, Filippo Tassinari, Sacha Toncovic, Andrew Topel, Juergen Trautwein, Jules Varnedoe, Matt Vogel, Thomas Wernberg, Joonas Westerlund, Alexis Williams, William Wolfgang Wunderbar, Pawel Wocial & Kamila Tuszynska.

One Second Residency Program:
Artists: Jordan Topiel Paul, Douglas Repetto, Joseph Moore, Maja kalogera, Nina Sobell, Micheál O’Connell, Bartis Noémi, Krishan Mistry, h/ lev, Jak Bobby, Denise kehoe, Erica Mena, Dirk Vekemans, Nhawfal Juma’at, ronnie s, Heike Endemann, Bron Belcher, didem erk, Jessica Earle, judithS bauer, Faith Wilson, Victor Matthew Ablorh, Daniel Giordano, marcela jardon, Filippo Tassinari, Rodrigo Arenas-Carter, Mattias Hellberg, Tamsin I Irwin, Wei Hsinyen, Okwei Odili, Nathan Markham, Alex Ness, Jedrzej Cichosz, Patrick Lichty, maia nichols, Igor and Ivan Buharov, Sara P, Eylul Dogruel, hizzy, The Best (Najbolja), Ramon Bonilla.
Residencies: CeRCCa, China Residencies, Art in Motion – Imagine Residency, nonesuch @main & Station leap second residency, Ayatana Artistic Research Program, King Island Arts & Cultural Centre Chris Green, Y, ARTErra rural artistic residencie (Portugal), Drunken Boat One-Second Residency, The Only Real Time Based Net Art Girl Adspace Residency, Laboratory, Wave Farm Residency Program, Nonesuch Paper, Gushul Residency Program, R.A.R.O, redpoint, OPEN A.i.R., Sklad Air, North & Found, Neptune Base Station, Perfect Users, the icing room, https://www.PerfectUsersCollective.tumblr.com

WHY
Art, new technology and precarity raise some issues which the leap second can exemplify and realize.
The leap second adjustment is a consequence of technology, practically immaterial, virtual, untimely – outside of time so to say – awkward, unsuitable and is a glitch or a wobble on global scale in earth’s rotation and in electronic time systems (OSs). In the same way, the festival is scalable from extremely big to extremely small, somehow mirroring the extension of technology. It’s also a metaphor for the precarity caused by technology. And it’s questioning its own existence: 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 one of three glitchy processes – repeat, freeze, smear – to adjust clock-time. And finally. with its awkward, impossible format, the focus of the festival could very well be exactly that: a questioning of art and its appearance, materiality, objecthood, to tie onto traditions of conceptual and postconceptual art, net art, ao. and lead to an exploration of media in search of itself (as an ‘appearing’ form, or questioning its form). A festival or non-event like this could bring these questions to the front as its main character or theme.

SPECIAL SECTIONS / VENUES
========================

Leap Second Net- & Codework
http://noemata.net/leapsec27/code/
Description: Works dealing with networks, code, interactivity and real-time processes related to the leap second. Highly recommended!

One Second Film Festival
http://noemata.net/leapsec27/ff/
Description: A show with one second moving images works.

Songs for the Leap Second
http://noemata.net/leapsec27/songs/
Description: A soundtrack album for the leap second. 29 Songs and audio-works made, adapted, or remixed to fit the leap second event in various ways – repeat, freeze, smear!

One Second Residency Program
http://leapsecond.date
Description:  A dating service between artists and art residencies that lasts one second. 19 institutions have provided residencies to 41 artists for the leap second!

Radio Patapoe Broadcast
http://radiopatapoe.nl:8000/leapsecond.m3u
The radio will have a dedicated broadcast of the album “Songs for the Leap Second” during the festival.
Schedule: Dec 31 2016 23:59:60 to Jan 1 2017 00:56:00 (UTC – Universal Coordinated Time), which equals: Jan 1 2017  00:59:60 to 01:56:00 (CET – Central European Time).

========================

Happy leap second! And (after that) new year!

Enjoy!
–Leap Second Festival Team

http://leapsecond.online/

THE MAKING OF LEAP SECOND FESTIVAL 2016
– video –

vertical: https://vimeo.com/223023317
horizontal: https://www.youtube.com/watch?v=glP6PFkMAxU

VERY SPECIAL THANKS TO
Katerina Gkoutziouli for advice, Igor Buharov and Tibor Horvath for conversations about LSF, and Karina Palosi for the flyer.
The same thanks also goes to Ana Buigues for discussions, encouragement, and El-Estudio gallery space, Tom Klev for advice, and Arts Council Norway/Visual Arts for funds.

ABOUT
The festival is organized by
Ars Publica/noemata http://www.noemata.net (Bjørn Magnhildøen).
Browserbased Group http://www.browserbased.org (Zsolt Mesterhazy and Radovan Misovic).
Contact: leapsec@noemata.net / iheartmyart@browserbased.org
Follow: https://twitter.com/leapsecfest

Out of Office #3

Out of Office is a micro curatorial platform which utilizes the auto reply feature on email addresses in order to distribute art. Simply email the address on the accompanying business cards and receive the art in the comfort of your own mailbox.

Curated by Matthew Britton and served up by BrowserBased Group for Shift Operations at Paleis van Mieris, in Amsterdam.

Artists: Constant Dullart, Danny Brian Gonzales, Shia LeBeouf – Nastja Säde Rönkkö – Luke Turner, Jonas Lund, Karina Pálosi, Nick Zhu

69.numbers.suck

1.flyer

Athens, Greece. Ever since the crisis set in, an exploding body of graffiti, marker writings, flyers and stickers has been crawling allover the city’s surfaces. One of the highly frequented places, as we found, is the eye-catching number of pay-phone booths left standing regardless of being defunct or vandalized. As telephony hops onto private mobile networks we observe how the booths recycled by the use of scratch, paste and pen. Parts of the withering public phone infrastructure become quizzical nodes of these new anarchic networks.

In their freshly assigned role, the phone−booths re−enter the city’s communication channels. They quote, from URLs of conspiracy theory videos to tags by local hooligans, all mingling with signs indecipherable (for most readers), with scrawls and smudges, and private messages, from romantic confessions to sexual services offered with names and mobile phone numbers. 69 is the prefix for commercial mobile networks in Greece which all work with real name bound accounts.

To get a closer look at these flows of messages, we documented phone−booths in various parts of the city. The result is a series of over 800 photographs, which, by their sheer number, asked for some structure to be accessible. Using keywords, we arranged them by categories, into galleries at geolocations on openstreetmaps. We have come to regard most of the ones of sexual nature as advertisements for the simple reason of the frequency of their re−occurrence and frequency of updates allover the city. A frequency that even a most frantic wrath would fall short of to write, if the motivation was of a personal nature

Let’s pause for the dilemma of motivations here: Are they indeed advertisements or are they meant to be outing people with their names and numbers, in a form of hate speech?

Since the numbers are mostly coupled to male names, we looked at legal aspects of male prostitution. There are contradictions concerning male sexwork in Greek law which make the legality of male sexwork unclear. This may very well contribute to the reasons for this thread of handwritten phenomena, next to the difficult to imagine levels of poverty and exposedness. http://www2.keelpno.gr/blog/?p=4934&lang=en

69.numbers.suck presents the documentation and our findings as offline maps. To protect the writers and their characters as best as we could we do not expose it online as a Google map gallery and we took the following steps.

Step one:
We present the 69 database only offline to lessen exposure to data mining or the scope of doxing. We serve 69.numbers.suck, locally, from an encrypted and modified wifi router that is toned down in range to limit wifi reception to the exhibition area.

Step two:
To have a recourse to the rule of law, even if weak, we copyrighted the database and the images to discourage unwanted reuse. The landing page also asks all visitors to observe the issue.

The request reads: “69.numbers.suck” is presented as an offline collection to keep a measure of protection from data crunchers. BrowserBased Group kindly requests you to refrain from reproducing and putting online any of this material! Further, the image files, the database and the resulting tracks are there for the sole purpose of consideration. Any data extraction, disclosure, dissemination or copying of content is prohibited without the authors’ prior consent!

69.numbers.suck is a subjective overview and in no way is it all encompassing.

Publications:

stand alone pdf:

69.numbers.suck

http://ilu.servus.at/issue10.html

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

Thanks to http://2016.adaf.gr!
Thanks to the Stimuleringsfonds!