THE BIG PICTURE: ARS ELECTRONICA 2012 (original) (raw)

L'ECLISSE Redux: A urban sociology re-think contemporary Siena

Interview with Bureau for Open Culture (BOC), an itinerant curatorial initiative, about their project L'ECLISSE redux in Siena, Italy, produced by Nate Padavick, C Troyan and James Voorhies. This interview was published on Positive-Magazine.com http://www.positive-magazine.com/leclisse-redux-a-urban-sociology-to-re-think-contemporary-siena/

Shadowgram: a case study for social fabrication through interactive fabrication in public spaces

2012

This paper describes a case study of Shadowgram as an application of interactive fabrication in public spaces to realize a creative communication environment based on an interactive installation, which generates sticker cutouts of the silhouettes of participants. In this paper, we propose an approach called Social Fabrication that stimulates communication in society. Finally, we assess the potential of our creative catalyst by installing Shadowgram in public events and through observation and analysis we examine the behavior of participants.

The Bishan Project: Restarting the Rural Reconstruction Movement

Post City: Habitats for the 21st Century, Ars Electronica and Hatje Cantz , 2015

Bishan Project and Rural Reconstruction Movement in China. Ou Ning, “The Bishan Project: Restarting the Rural Reconstruction Movement”, Post City: Habitats for the 21st Century, publication of Ars Electronica 2015, edited by Gerfried Stocker, Christine Schöpf and Hannes Leopoldseder, published by Ars Electronica, Linz and Hatje Cantz Verlag, Ostfildern, 2015.

‘All the Musics Which Computers Make Possible’: Questions of genre at the Prix Ars Electronica

This article explores the workings of genre in experimental electronic musics. Predominantly sociological in orientation, it has three main foci. First, it addresses practitioners’ and theorists’ resistances to the concept of genre in experimental musics. Drawing on recent developments in genre theory, it discusses the problems of agency, mediation and scale that any discussion of genre calls forth, pitting them alongside theories that emphasise genre’s necessity and inevitability in communication. The second section examines the politics of genre as they play out in practice, focusing on the Prix Ars Electronica festival and the controversy that ensued from the decision to change the name of the Computer Music category in 1999. The analysis focuses on issues of institutional mediation, historicity, genre emergence and the politics of labelling as they come into view when two broad spheres – electroacoustic art music and ‘popular’ electronic music – are brought into the same field together in competition. The third section deepens the analysis of Ars Electronica by zooming in on one of the represented genres, microsound, to examine how it is shaped and negotiated in practice. Using digital methods tools developed in the context of Actor-Network Theory, I present a view of the genre as fundamentally promiscuous, overlapping liberally with adjacent genres. Fusing Derrida’s principle of ‘participation over belonging’ with ANT’s insistence on the agency of ‘non-human actors’ in social assemblages, the map provides a means to analyse the genre through its mediations – through the varied industries, institutions and social networks that support and maintain it.

Lessive

Faire sa lessive soi-même : un premier pas vers ...

Rosa Reitsamer (2014): ‘Born in the Republic of Austria’. The invention of rock heritage in Austria. In: International Journal of Heritage Studies. Vol. 20 (3), pp. 331-342

This article explores the retrospective cultural consecration of popular music in Austria. Examining two recent documentary projects, one focusing on Austropop, a Viennese popular music phenomenon of the early 1970s, and the other on the punk-inspired music scene of Linz in Upper Austria from late 1970s, the article shows how both projects seek to invent an Austrian popular music heritage and advance claims for national or regional cultural identity based on the discourse of rock heritage. 'Weltberühmt in Österreich. 50 Jahre Austropop' (World Famous in Austria. 50 Years of Austropop) deploys the 'Sound of Music' image of Austria in the construction of Austropop as an essential part of national cultural heritage and hence, national identity for the post-war generation. 'Es muss was geben' (There must be something) asserts the identity of the punk-inspired musicians of Linz as 'Steel City kids' and yet claims that this music scene contributed significantly to the transformation of Linz from an industrial town dominated by state-owned steel works to a 'cultural city'. My analysis suggests how the claims of rock heritage are, after all, consistent with the cultural ideology of the post-war republic and how they reflect broader contradictions in Austrian society.