[artinfo] Call for Participation on the theme: POLLUTION
kcohaeb at indamail.hu
Sun Jun 28 23:39:19 CEST 2009
INCIDENT's Call for Participation on the theme: POLLUTION.
Deadline: September 30th 2009.
Thank you to send us by email (incident at incident.net):
- A description of your work
- A short biography
- Your work (or its url)
Nota bene: only the works using technology (interactivity, generativity,
networks, etc.) will be selected.
incident at incident.net
In recent years, concerns about the environment have reached the
forefront of human concerns. Pollution, a result of the intense human
activity which has accelerated in the last 50 years, is at the origin of
the environmental changes that currently put in danger the global ecosystem.
In the contemporary media universe, the notion of pollution becomes
apparent in the alteration of messages or signals, by transforming or
impeding their reception. At the same time, pollution also appears as a
transformation which operates on the message, revealing the
over-polished nature of the contemporary media stream. In the physical
environment, pollution indicates excess and (over)saturation, acting as
an indicator and a warning for greater consideration of the ecosystem.
Pollution’s significance dates back to the industrial revolution.
Likewise its appropriation and representation by the artists is also a
relatively recent phenomenon. If we can find visually representations in
the work of William Turner (whose pieces are today used by scientists to
model climate change), it is particularly with the expressionists that
the concept of pollution as excess appears in all its strength of
representation: Georg Grosz's urban paintings, and the violent
deconstructions of the Cubists are indeed clear signs of the urban
cacophony at the end of the 19th century.
If pollution sends us back instinctively to a visual static represented
by the smoke produced by the new heavy industries of the 19th century,
it is also the appearance the new saturated noise environment that
speaks to the significant transformation of the living space of the
human being in the era. Irrespective of the generally passive response
to this plague, Luigi Russollo is inspired in "The Art of Noises" by the
appearance of new sound forms that he and his contemporaries did not
delay appropriating. New forms such as his are a clear sign of a
sensitized, often urbanized society, where the pollution by machines
became and integral part of the people’s environment.
The very purpose of new technologies of communication is to transpose
one form of media into signals, into other codes, modifying and
degrading the information, and thus in a sense polluting it. Pollution
is in the end a corollary for our daily work of using electricity and
digital technology, modifying our works of the mind by transforming them.
Pollution is not always realized through a visible change of our
environment: other forms of pollution appear, sometimes invisible, and
which have repercussions which we still have difficultly measuring. For
example: electromagnetic pollution made audible by Robin Rimbaud in his
sound project "To scan", the cognitive saturations in the informative
flow of the Internet, and the transformation of the regard in the face
of the endless flow of digital images degraded by their transmission.
Between visible destruction and the impact microscopic effects, the
question of pollution impacts at every level our relationship to our
environment, especially in our daily interactions with machines where
visible innocuousness often hides strong repercussions for the
transformation of the human race.
By Claude Le Berre.
Voir cette lettre d'information sur le site Incident.net
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