[artinfo] Call for Participation on the theme: POLLUTION

há bé 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
 Gérez votre abonnement à la lettre d'information
 faces-l mailing list
 faces-l at lists.servus.at


vagy értékes nyereményeink egyikét


More information about the Artinfo mailing list