\n"+ "Natalie Bookchin +
Jacqueline Stevens
\n"+ "Andreja Kuluncic
\n"+ "Chantal Dumas +
Valerie Walker
\n"+ "Paula Levine
\n"+ "Shilpa Gupta
\n"+ "Jill Magid
\n"+ "Emily Hermant
\n"+ "Amanda Ramos +
Michelle Teran
peripheries + proximities
\n"+ "> peripheries of bodies, spaces, cities / proximities of languages, to other bodies, of politics / technologies of proximities / peripheral devices / psychogeographies...
\n"+ "> how do electronically enhanced textures/grains of the built environment accommodate the variable hybridity of vital presences and spaces provocatory \n"+ "of self-generatory urban processes, new socio-political freedoms and dynamic routings enhanced by these shadow networks?
\n"+ "- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
\n"+ "One of the particularities of the HTMlles bienniale is to group the projects \n"+ "according to themes specific to each edition. This year, the projects propose \n"+ "an itinerary that navigates geographic concerns, technological tools and different \n"+ "social perspectives all linked to the theme. Here are the major axes which outline \n"+ "the general program.
Future Body
Various projects explore the emerging futures of the body \n"+
"as articulated through research in biotechnologies, interactive textiles, ‘social \n"+
"fashioning’ and the immateriality of telepresence.
The Brazilian research group, Corpos Informaticos, will offer a live telematic \n"+
"performance to the Montreal public, during a period of 2 hours. The project, \n"+
"Ctrl-C Ctrl-C, explores the possibilities of poetic intervention within a telematic \n"+
"environment. Questions and an imaginary linked to the body’s deterritorialisation… \n"+
"Is it simply a question of submission to the demands of the machine?
\n"+
"FRONT v3.0 by Millefiore Effect was born out of the desire to create clothing \n"+
"which responds to the wearer’s emotions. Two interactive costumes, with \n"+
"offensive and defensive mechanisms, illustrate certain notions of conflict within \n"+
"ceremonial combat. The micro-action proposed by Joanna Berzowska, Electronic \n"+
"Textiles 101: Constructing Soft Switches, is an introduction to the principles \n"+
"of soft-circuit design. Beatriz da Costa, professor and associate of the Critical \n"+
"Art Ensemble, will give a conference on her research which situates itself around \n"+
"AIDC technologies [Automatic Identification and Data Collection], biotechnologie \n"+
"and diverse models of contestatory science.
\n"+
"Jennifer Willet develops a paradoxal project – Bioteknica - on the profound \n"+
"stakes and complexes which biotechnologies raise for the future of humanity. \n"+
"Katherine Moriwaki, a Dublin researcher, looks at the phenomena of social fashioning, \n"+
"the process of using clothing and accessories as the active conduit through \n"+
"which people create network relationships in public space.
Space Plays
\n"+
"Alternating between the political and the playful, a series of works bring us \n"+
"to the heart of technological culture as resulting from the military industry, \n"+
"electronic urbanism or yet still, the planetary political games that the Internet \n"+
"activates by collective communication and free software.
Following Brussels, Utrecht and Berlin, Michelle Teran continues her course \n"+
"with Life: A User’s Manual, adapted specially to the Montreal context. \n"+
"This performance takes the form of an urban trajectory that cuts across the \n"+
"cityscape, with the artist being accompanied by the public as she scans and \n"+
"broadcasts live, on a television monitor, images captured from surveillance \n"+
"cameras that she has located in the days preceding the event. In Tamara Vukov’s \n"+
"installation, War Game Room, the popular video game – Full Spectrum Warrior \n"+
"– is scrutinized to explore how military imagery molds our culture.
\n"+
"Diverse Web projects take on the question of geo-politics. Paula Levine [Shadows \n"+
"From Another Place…] imagines the effects upon the city of San Francisco, \n"+
"had the bombs which fell on Baghdad been destined rather for the American city. \n"+
"The project references GPS technology, physical spaces, associated histories \n"+
"and the Web. Natalie Bookchin and Jacqueline Stevens inquire into the possibility \n"+
"of a radical alternative to world politics and governance, inciting participative \n"+
"and collective reflexions via a blog destined to design an on-line global politics game [agoraXchange].
\n"+
"In Evidence Locker, Jill Magid used Liverpool’s police surveillance cameras \n"+
"to explore notions of surveillance and archiving. With official forms modified \n"+
"into love letters, they reflect the intimate relation the artist constructed \n"+
"between herself, the police and the city. Amanda Ramos and Michelle Teran conceptually \n"+
"explore the transformation of urban space into data space with Flatlandia. Emily \n"+
"Hermant underscores the networked aspects of the Web with that of traditional\n"+
"textile art in The Lies Project. She explores the thematic of lying in cyberspace, \n"+
"to question and challenge the power structures that are built within words and which govern our daily interactions.
Social Culture
\n"+
"Diverse artists presented work with notions of social culture in research and \n"+
"projects dealing with communication: Internet documentaries, intergenerational \n"+
"projects, perspectives and surveys on women’s work, positions on the effects \n"+
"of globalisation, a video-conference transmitted from Nunavut on the oral story-telling \n"+
"and Inuit Culture… Many interests on the part of the artists manipulating \n"+
"technologies to document social reality.
HISTOIRes ORALes ou la «nouvelle» technologie est-elle vraiment \n"+
"nouvelle?, was initiated by Valerie Walker and Chantal Dumas, in collaboration \n"+
"with Studio XX. It proposes a reflection on intergenerational relations Two \n"+
"groups of interviewers – one composed of adolescents and the other of \n"+
"women of different ages (19-60) – produced a series of radio documentaries \n"+
"on the elderly and their relation to technology. Linked to HISTOIRes ORALes, \n"+
"will be a video-conference with Nunavut, presented by Igloolik Isuma Productions. \n"+
"Live, we will discover women of varying generations who currently collaborate \n"+
"on the production of a film and the development of a Web site documenting Inuit \n"+
"oral culture. A rare and unexpected encounter with young and elderly women for\n"+
"a discussion on their rapports with technology and culture.
\n"+
"The Belgian collective, Constant [Laurence Rassel, Marie-Françoise Stewart-Ebel, \n"+
"Wendy Van Wynsberghe], interrogates the HTMlles public for its project Cuisine \n"+
"interne keuken, a mobile and sound research on feminist cultural practice as \n"+
"work. With the assistance of 17 questions, microphones, mini-discs, free software \n"+
"and their hybrid practices of artists and cultural workers, 3 women will move \n"+
"through the HTMlles and weave links between our experiences.
\n"+
"Following in the same vein and exposing the stakes of work, Isabelle Massu will \n"+
"introduce SPIP – a software for desktop publishing on the Net – in her workshop Women I Work.
\n"+
"Andreja Kuluncic and her on-going Web project – Distributive Justice – \n"+
"looks at subjects dealing with the free distribution of material and immaterial \n"+
"goods, as well as collective participation and decision-making processes via \n"+
"Internet games and practical interventions. Shilpa Gupta seemingly offers visitors \n"+
"the chance to receive a blessing from the religion of their choice on her site, \n"+
"Blessed Bandwith. She explores the relation amongst religion, politics and globalisation, recurrent themes in her work.
Free Images + Sounds
\n"+
"A series of concerts and performances will place the spotlight on musicians, \n"+
"story-tellers, djs, vjs and women manipulating old and new electronic instruments \n"+
"and free software. Privileging the unexpected and leaving the beaten path behind, \n"+
"to shatter the verb, sound and image freely!
During a special evening, three artist performances explore the link between \n"+
"traditional musical instruments and current technologies. Nathalie Derome and \n"+
"Nathalie Dion have created for the HTMlles – Le bon voisinage – \n"+
"an original sound and visual performance in three parts: ditties – little \n"+
"playful songs interpreted by Nathalie Derome; a poetic performance sung and \n"+
"danced by Nathalie Dion; and their improvised vocal, visual and videographic duo.
\n"+
"Raylene Campbell proposes I Dream Eye, an audio/video performance which incorporates \n"+
"the E.I.S [Expanded Instrument System], improvised accordion and a video installation. \n"+
"Finally, La Revanche des Opératrices premiers a program of mixed videos \n"+
"and musical improvisations starring: Suzanne Binet-Audet – renowned specialist \n"+
"of the ‘ondes Martenot’ – accompanied by Karèya Audet \n"+
"who plays with sound elements of the film, Phantom of the Operator (Caroline \n"+
"Martel, 2004); and VJ Faux Amie, who plays with images from the same film while recording the performance simultaneously.
For the closing evening of the bienniale, come and discover exceptional artists \n"+ "who sculpt sound on various rhythms: local artists DJ Cyan, DJ Jasmine, Alice \n"+ "+ the Serial Numbers and K-project. Joining them all the way from Zagreb, and \n"+ "specially for the Montreal public, the GNU Girl Power Collective.
"; var artistes = ("\n"+ "+ Commission for the HTMlles
\n"+
"
Susan Kozel + Mesh Performance Practices [Canada] > Immanence
\n"+
" + Web
\n"+
" Natalie Bookchin + Jacqueline Stevens [United States] > agoraXchange
\n"+
" Chantal Dumas + Valerie Walker [Quebec] > HISTOIRes ORALes ou La “nouvelle technologie” est-elle vraiment nouvelle ?
\n"+
" Shilpa Gupta [India] > Blessed Bandwith
\n"+
" Emily Hermant [Quebec] > The Lies Project
\n"+
" Andreja Kuluncic [Croatia] > Distributive Justice
\n"+
" Paula Levine [United States] > Shadows From Another Place: San Francisco <-> Baghdad
\n"+
" Jill Magid [United States /Netherlands] > Evidence Locker
\n"+
" Amanda Ramos + Michelle Teran [Canada/Germany] > Flatlandia
\n"+
" + Installations
\n"+
" Millefiore Effect [Ralph Borland, Jessica Findley, Margot Jacobs] > Front v3.0 [South Africa/ United States /Sweden]
\n"+
" Tamara Vukov [Quebec] > War Game Room
\n"+
" + Performances
\n"+
" Corpos Informaticos [Brazil] > Ctrl-C Ctrl-C
\n"+
" Michelle Teran [Canada/Germany] > Life: A User's Manual
\n"+
" + Concerts
\n"+
" Suzanne Binet-Audet, Karèya Audet + Michelle Kasprzak [Quebec] > La Revanche des Operatrices
\n"+
" Raylene Campbell [Quebec] > I Dream Eye
\n"+
" Nathalie Derome + Nathalie Dion [Quebec] > Le Bon voisinage
\n"+
" Dj Jasmine [Quebec]
\n"+
" Dj Cyan [Quebec]
\n"+
" Alice + The Serial Numbers / K-project [Quebec]
\n"+
" DJ Mini [Quebec]
\n"+
" + Micro-actions
\n"+
" Joanna Berzowska [Quebec] > Electronic Textiles 101 : Constructing Soft Switches
\n"+
" Suzanne Binet-Audet [Quebec] > An Afternoon with the "ondes Martenot"
\n"+
" Constant [Belgium] > Cuisine interne keuken
\n"+
" Isabelle Massu [France] > Woman l Work
\n"+
" + Conferences / Round Tables
\n"+
" Constant [Belgium] – Itineraries of Sound and Mobile Research on Feminist Cultural Practice as Work
\n"+
" Beatriz da Costa [/United States] > Living Organisms: Forms of Control or Tools for Resistance?
\n"+
" Chantal Dumas + Valerie Walker [Quebec] > HISTOIRes ORALes ou La “nouvelle technologie” est-elle vraiment nouvelle ?
\n"+
" Igloolik Isuma Productions [Quebec] > Connecting to Artists in the Remote Arctic through the Internet
\n"+
" Susan Kozel [Canada] > Immanence
\n"+
" Katherine Moriwaki [United States/Ireland] - The Social Fashioning of Emerging Communications Infrastructures
\n"+
" Jennifer Willet [Quebec] > Bioteknica
\n"+
" + Special Event
\n"+
" en collaboration avec le / in collaboration with the Groupe Intervention Vidéo [Québec/Quebec]
\n"+
" Anne Golden [Curator] > Je t'ai à l'oeil - I'm Watching You - Surveillance(s) and Technologie(s) [Video Program]
\n"+
" Caroline Martel [Quebec] > The Phantom of the Operator [Quebecois Premiere]
\n"+
" + Essays [excerpts]
\n"+
" Beatriz Preciado [France-Spain] > Multitudes queer
\n"+
" Horit Herman Peled [Israel] - Freecooperation in an Occupied Space
\n"+ "Natalie Bookchin + Jacqueline Stevens | \n"+
" \n"+ "Andreja Kuluncic | \n"+
"
\n"+ "Chantal Dumas + Valerie Walker | \n"+
"\n"+ "Paula Levine | \n"+
"
| \n"+ "Shilpa Gupta | \n"+
"\n"+ "Jill Magid | \n"+
"
\n"+ "Emily Hermant | \n"+
"\n"+ "Amanda Ramos + Michelle Teran | \n"+
"
+ Monument-National
\n"+
"Before the first stone was placed in the construction of the Monument-National, \n"+
"the Dames de la Société [Women of Society] – who later became \n"+
"the Dames patronnesses [Patron Ladies] – played a major role in the edification \n"+
"of the Monument. They worked assiduously to raise necessary funds as they perceived \n"+
"in this project the possibility of bettering the living conditions of French-Canadian \n"+
"women. This would take place notably through the establishment of the first \n"+
"public courses destined for women and in revindicating access to post-secondary \n"+
"studies. The Marie Gérin-Lajoies – true leader of the Federation \n"+
"– and Idola Saint-Jeans – prominent militant and emblematic figure \n"+
"of Quebecois Suffragettes – also created networks of feminine support \n"+
"services and fought for women’s right to vote. During almost 40 years, \n"+
"the Monument-National was the hearth of French-Canadian feminism.
+ http://www.monument-national.qc.ca/
\n"+ "+ La Centrale
\n"+
"La Centrale Galerie Powerhouse is an artist-run centre incorporated in 1974 \n"+
"which has as its mandate and general policy to give voice to the diversity of \n"+
"work in women’s contemporary art at local, national and international \n"+
"levels. La Centrale supports research, intervention and the creation of multiple \n"+
"discourses on artistic practices, feminisms and interdisciplinarity.
+ Le Groupe Intervention Vidéo
\n"+
"Groupe Intervention Video [GIV] came into existence in 1975 and celebrates its 30th anniversary this year.
\n"+
"GIV, as a diffuser/distributor and producer, stands out in its implication in \n"+
"the diverse stages of work by video makers, and in pursuing a policy of overall \n"+
"assistance with the artists. Through time, use of video has been, and remains, \n"+
"strategic, a close companion of activists and artists, inserting itself in the \n"+
"intimacy of communities and processes, revealing individual and collective imaginaries \n"+
"and pains. Collaborations undertaken with new media artists these past years \n"+
"allows us to glimpse into the itinerary that the organisation pursues, with \n"+
"importance on exploration and multiple appartenance. To emphasize its 30th anniversary, \n"+
"GIV is proud to be associated with the HTMlles for the 7th edition of the HTMlles,\n"+
"an event which allows the discovery of remarkable local and international artists.
+ Le Centre de documentation sur l'éducation adulte et la condition \n"+
"féminine [CDÉACF]
\n"+
"Le Centre de documentation sur l’éducation des adultes et la condition \n"+
"féminine is a crossroads of exchanges and a space of expression. Its \n"+
"mission is to collect, disseminate, promote and offer access [in french] to \n"+
"experiences and knowledge of the following communities: adult education, literacy, \n"+
"and women’s condition - in Quebec and French-Canada. Founded in 1983, \n"+
"the CDÉACF now develops several specialised Web sites, notably NetFemmes.
Contact : presse@htmlles.net
"; var imagesT = "Coming soon" var billeterie = "+ Paying Activities (Sorted by date)
\n"+ "
On sale now at the Billetterie Articulée :
514.844.2172 1.866.844.2172
\n"+
"at the Monument-National, 1182 boulevard St-Laurent [metro St-Laurent]
\n"+
"*[Regular Price/Student Price] Taxes + Ticket Fees included
+ 19-21.05 / 19h00 + 21h00 / Monument-National [Studio Hydro-Quebec]
\n"+
"20$/15$*
> Susan Kozel + Mesh Performance Practices [Canada] > Immanence
\n"+ "- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
\n"+ "+ 19.05 / 18h30 / Monument-National [Balustrade]
\n"+
"15$/10$*
> Joanna Berzowska [Quebec] > Electronic Textiles 101 : Constructing Soft Switches
\n"+ "- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
\n"+ "+ 19.05 /21h00 / La Centrale
\n"+
"15$/10$*
> Suzanne Binet-Audet/Karèya Audet/Michelle Kasprzak [Quebec] > La Revanche des Operatrices
> Raylene Campbell [Quebec] > I Dream Eye
> Nathalie Derome + Nathalie Dion [Quebec ] > Le Bon voisinage
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
\n"+ "+ 20.05 / 13h00 / Studio XX
\n"+
"15$/10$*
> Suzanne Binet-Audet [Quebec] > An Afternoon with the ‘ondes Martenot’
\n"+ "- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
\n"+ "+ 21.05 / 17h00 / Cinema ONF
\n"+
"12$/9$*
> Anne Golden [Commissaire] > I’m Watching You - Surveillance[s] and Technologie[s]
> Caroline Martel [Quebec] > The Phantom of the Operator
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
\n"+ "+ 21.05 / 21h00 [Just For Laughs Museum-Studio]
\n"+
"20$/15$*
> DJ Jasmine [Quebec]
> DJ Cyan [Quebec]
> Alice + The Serial Numbers/K-project [Quebec]
> DJ Mini [Croatia]
Institutional Partners 
Main Partners
Partners Media 
Sponsors
| Co- Direction | Danièle Racine, Karen Wong |
| Programming | Danièle Racine, Karen Wong |
| Programming Committee | Bernadette Houde, Stéphanie Morrissette, Paula Perissinotto, Oana Spinu |
| Technical Direction | Bérengère Marin Dubuard |
| Production Coordination | Myriam Yates |
| Graphic Designer | Tania Chiarotto (labourlab.net) |
| Webmistress | Stéphanie Lagueux |
| Web Designer | Maléa Gadoury, Maya Wiseman |
| Network Administration | Marc Heckmann |
| Video Documentation | Deborah Van Slet |
| Intern Communications | Véronique Côté |
| Press Relations | Mélanie Mingotaud |
| Translation + Proof-reading | Louise Ashcroft, Sarah Brown, Yasmine Kacimi |
Studio XX
\n"+ "| General Direction | Marie-Christiane Mathieu |
| Comptability | Josée Laplace |
Many thanks to our volunteers, partners, sponsors and members of Studio XX who have contributed to the success of the 7th edition of the HTMlles.
13h00 > conference > archive [quicktime]
\n"+ "Beatriz da Costa [United States]
Living Organisms: Forms of Control or Tools for Resistance
14h30 > Round Table > archive [quicktime]
\n"+ "Jennifer Willet [Quebec] > Bioteknica
Susan Kozel [Canada] > Immanence
Katherine Moriwaki [United States/Ireland] > The Social Fashioning of Emerging Communications Infrastructures
17h00 > Presentation > archive 01 | 02 [quicktime]
\n"+ "Millefiore Effect - Jessica Findley [South Africa/United States/Sweden]
Front v3.0
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
\n"+ "+ 20.05
15h00 > Conference > archive [quicktime]
\n"+ "Constant [Belgium]
Itineraries for Sound Research on Feminist Cultural Practice as Work
\n"+
"
17h00 > Presentation
Isabelle Massu [France] > archive [quicktime]\n"+
"
Constant [Belgium] > archive [quicktime]
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
\n"+ "+ 21.05
13h00 > Round Table > archive [quicktime] \n"+ "
Chantal Dumas + Valerie Walker [Quebec]
HISTOIRes ORALes
15h00 > Presentation > archive [quicktime]
Igloolik Isuma Productions [Quebec]+ 10h00 [CDÉACF]
Micro-action [free entry]
in collaboration with the CDÉACF
Isabelle Massu [France]
+ 13h00 – 17h00 [MN-Café]
Micro-action [entrée libre]
Constant [Belgium]
- - - - - - - - - - - - - - - - - - - - - - - - - -
+ 17h00 [MN-Café]
Opening
- - - - - - - - - - - - - - - - - - - - - - - - - -
+ 19h00 [MN-Hydro-Québec Studio]
Pre;sentation [on invitation]
Special request from the HTMlles
Pieces of Immancence project :
Susan Kozel + Mesh Performance Practices [Canada]
- - - - - - - - - - - - - - - - - - - - - - - - - -
+ 21h00 [MN-Hydro-Québec Studio]
[World Premiere]
Performance [20$/15$*]
Immanence :
Susan Kozel + Mesh Performance Practices [Canada]
+ 13h00 – 17h00 [MN-Café]
Micro-action [Free entry]
Constant [Belgium] > Intern keuken kitchen
\n"+ "- - - - - - - - - - - - - - - - - - - - - - - - - -
+ 13h00 [MN-Café]
Conference [free entry]
Beatriz da Costa [United States] > Living Organisms: Forms of Control or Tools for Resistance
\n"+ "- - - - - - - - - - - - - - - - - - - - - - - - - -
+ 14h30 [MN-Café]
Round table [free entry]
Jennifer Willet [Québec] > Bioteknica
Susan Kozel [Canada] > Immanence
Katherine Moriwaki [United States/Ireland] > The Social Fashioning of Emerging Communications Infrastructures
- - - - - - - - - - - - - - - - - - - - - - - - - -
+ 17h00 [MN-Café]
Presentation [free entry]
Millefiore Effect [South Africa/United States/Sweden] > Front v3.0
\n"+ "- - - - - - - - - - - - - - - - - - - - - - - - - -
+ 18h30 [MN-Balustrade]
Micro-action [15$/10$*]
Joanna Berzowska [Quebec] > Electronic Textiles 101: Constructing Soft Switches
\n"+ "- - - - - - - - - - - - - - - - - - - - - - - - - -
+ 19h00 [MN-Hydro-Québec Studio]
Performance [20$/15$*]
Immanence
Susan Kozel + Mesh Performance Practices [Canada]
- - - - - - - - - - - - - - - - - - - - - - - - - -
+ 21h00 [LC]
Performances [15$/10$*]
Raylene Campbell [Québec] > I Dream Eye
Nathalie Derome + Nathalie Dion [Quebec] > Le Bon voisinage
Suzanne Binet-Audet/Karèya Audet/Michelle Kasprzak Quebec] > La Revanche des Opératrices
- - - - - - - - - - - - - - - - - - - - - - - - - -
+ 21h00 [MN-Hydro-Québec Studio]
Performance [20$/15$*]
Immanence
Susan Kozel + Mesh Performance Practices [Canada]
Friday 20.05
+ 13h00 [Studio XX]
Micro-Action [15$/10$*]
Suzanne Binet-Audet [Quebec] > Un après-midi avec les ondes Martenot
\n"+ "- - - - - - - - - - - - - - - - - - - - - - - - - -
+ 13h00 – 17h00 [MN-Café]
Micro-action [free entry]
Constant [Belgique] > Intern keuken kitchen
\n"+ "- - - - - - - - - - - - - - - - - - - - - - - - - -
+ 13h00 [MN-Café]
Performance [free entry]
Corpos Informaticos [Brazil] > Ctrl-C Ctrl-C
\n"+ "- - - - - - - - - - - - - - - - - - - - - - - - - -
+ 15h00 [MN-Café]
Conference [free entry]
Constant [Belgique] > Itinéraires d'une recherche sonore sur la pratique culturelle féministe comme travail
\n"+ "- - - - - - - - - - - - - - - - - - - - - - - - - -
+ 17h00 [MN-Café]
Présentation [free entry]
Isabelle Massu [France]
Constant [Belgium]
- - - - - - - - - - - - - - - - - - - - - - - - - -
+ 19h00 [MN-Hydro-Québec Studio]
Performance [20$/15$*]
Immanence
Susan Kozel + Mesh Performance Practices [Canada]
- - - - - - - - - - - - - - - - - - - - - - - - - -
+ 19h30 [MN-Café] Départ
Parcours dans la ville [free entry]
Michelle Teran [Canada/Germany] > Life: A User's Manual
\n"+ "- - - - - - - - - - - - - - - - - - - - - - - - - -
+ 21h00 [LC]
Vernissage/Presentation [free entry]
Tamara Vukov [Quebec] > War Game Room
\n"+ "- - - - - - - - - - - - - - - - - - - - - - - - - -
+ 21h00 [MN-Hydro-Québec Studio]
Performance [20$/15$*]
Immanence
Susan Kozel + Mesh Performance Practices [Canada]
+ 13h00 – 17h00 [MN-Café]
Micro-action [entrée libre]
Constant [Belgique] > Intern keuken kitchen
- - - - - - - - - - - - - - - - - - - - - - - - - -
+ 13h00 [MN-Café]
Round Table [free entry]
Chantal Dumas + Valerie Walker [Quebec] > HISTOIRes ORALes
- - - - - - - - - - - - - - - - - - - - - - - - - -
+ 14h30 [MN-Café]
Vidéo-conférence [free entry]
[transmission du Nunavut]
Igloolik Isuma Productions [Québec] > Meeting the artists of the Arctic via Internet
\n"+ "- - - - - - - - - - - - - - - - - - - - - - - - - -
+ 17h00 [ONF ]
Special event[12$/9$*]
Featuring le Groupe Intervention Vidéo
Anne Golden [commissaire du programme vidéo]
Je t’ai à l’oeil - Surveillance(s) et technologie(s)
Cocktail suivi de :
Caroline Martel [Quebec] > Le Fantôme de l’Opératrice
[Quebec Premiere]
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+ 19h00 [MN-Hydro-Québec Studio]
Performance [20$/15$*]
Immanence
Susan Kozel + Mesh Performance Practices [Canada]
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+ 21h00 [MN-Hydro-Québec Studio]
Performance [20$/15$*]
Immanence
Susan Kozel + Mesh Performance Practices [Canada]
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+ 21h00 [MJPR-Studio]
CLÔTURE [20$/15$*]
DJ Jasmine [Quebec]
DJ Cyan [Quebec]
Alice + The Serial Numbers/K-project [Quebec]
DJ Mini [Quebec]
Susan Kozel + Mesh Performance Practices immanence is about the inside and outside of the bodies, about contemplation, about spiraling journeys of thought and movement across a \n"+ "range of digital imaging technologies
immanence will draw together a range of visualization techniques that include:
\n"+ "* real time graphic effects applied to video [delta-fields, wave forms, particle systems, colour maps]
* live motion capture [vicon optical mocap system]
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"* medical visualization
The visuals will capture a range of human movement, from the micro to the macro, across varying levels of materiality and ephemerality. This mapping of human \n"+ "movement is broad enough to be translated into thought and consciousness, or across global flows. The labyrinth is an underlying metaphor, relevant to human,\n"+ "social, conceptual and environmental phenomena.
immanence is a research project leading to a live performance which will première \n"+ "in May 2005 as part of the HTMlles festival in Montreal.
immanence has been commissioned by StudioXX with the support of the Canada \n"+ "Council for the Arts. It's collaborating partners include the Interactivity Lab at the School for Interactive Arts and Technology, SFU, and the Vancouver \n"+ "Dance Centre.
+ Susan Kozel is a performer, choregrapher and writer. In 1998 she co-founded Mesh Performance Partnerships, which focuses on interactive performance and \n"+ "installation. She works in Canada as Lecturer in Media and Performing Arts [Technical University of British Columbia, Vancouver] and in England as an Associate Researcher \n"+ "for the SMARTlab Centre. She researches the physical and philosophical vocabularies which emerge from the convergence between dance and media technologies. She \n"+ "has a Ph.D in philosophy from the University of Essex [UK], has performed in many countries and is widely published.
\n"+ "+ Mesh was founded in response to a need for a flexible organization to foster creative space for a group of artists working with different media: art, architecture,\n"+ "dance, photography, design and computer programming. Work produced is aesthetically and technologically hybrid. Mesh Performance Practices continues the focus on \n"+ "bodies and technologies, but expands the artistic envelope to include a wider range of related body practices and philosophical writing.
\n"+ "Costume Design: Gretchen Elsener / Dramaturgical Input: Thecla Schiphorst
Thanks to Devon Cody and the Interactivity Lab at Simon Fraser University.
Tara Cheyenne appears courtesy of the Canadian Actors Equity Association.
Natalie Bookchin + Jacqueline Stevens + www.agoraxchange.net
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"+ www.action-tank.org
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"+ www.jacquelinestevens.org
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agoraXchange went online on March 15, 2004 as a guided blog for participants to design an online global politics game providing a radical alternative to \n"+ "the present world system. In the game, citizenship will be determined by choice [not birth]; at death, wealth will be redistributed through a global agency \n"+ "to provide for basic needs [health, electricity, clean water, education]; states will not privilege any kinship form [no state sanctioned marriage although private \n"+ "ceremonies are accepted]; no private ownership of land [long-term or life leases]. These principles all reflect a commitment to redesigning political institutions \n"+ "so they contend with the human condition of mortality more rationally than our present psychotic responses of nationalism, inheritance, the heteronormative \n"+ "family, materialism and ecological recklessness. These changes all aim to eliminate laws that provoke fighting and inequality, without generating laws or further \n"+ "sovereign institutions [for example, a world government].
In its next phase, beginning June 2005, participants will choose from discrete \n"+ "possibilities assembled from previous responses and the reasons given for them. The ultimate goal is a series of instructions for game designers to produce the game.
\n"+ "The project’s form is intimately linked to the global and open source possibilities of the Internet, particularly its ability to network people with \n"+ "related commitments, regardless of citizenship. The next phase of agoraXchange will feature work by activists, artists, and scholars that emphasize one or \n"+ "more of the project’s principles.
agoraXchange is hosted by www.kein.org and was first commissioned by Tate Online.
\n"+ "+ Natalie Bookchin is an artist living in Los Angeles.
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"+ Jacqueline Stevens is a political theorist living in New York.
Chantal Dumas + Valerie Walker \n"+
"The Oral Histories project is linked to the oldest form of investigation dating before written word, and to one of the most modern, developed due to the invention \n"+ "of the recorder in the 1940’s. Inscribed within oral tradition, its goal is to collect stories [thanks to sound recording] which relate women’s \n"+ "relations to technology through their personal experiences. This project seeks to preserve a living heritage whilst contextualising it within media such as \n"+ "radio and the Web.
Two groups of interviewers – one composed of adolescents and the other \n"+ "of women of different ages [19-60] – produced a series of radio documentaries on the elderly and their relation to technology. Seeking out their points of \n"+ "view, their daily usage and their apprenticeship of it throughout time, the project proposes a collective reflection on the emergence and integration of \n"+ "technological media and tools in our lives – from washing machines to computers, notwithstanding radio, television, transportation means and, why \n"+ "not, electricity.
Furthermore, Oral Histories creates an intergenerational dialogue. It aims \n"+ "to allow the ederly a public voice, and finally, within an educational perspective, it intends to favour the appropriation of new technologies, as well as the reflection \n"+ "upon these technologies.
\n"+ "+ Chantal Dumas, sound and radiophonic artist, has realised more than 25 audio \n"+ "works exploring the possibilities of narration with sound. The quality and originality of her work has earned her international prizes and airplay on public radio \n"+ "both abroad and in Canada. Her new radiophonic creation DANSE will be diffused in May on DeutschlandRadio [Berlin]. She currently lives in Montréal \n"+ "where she works as an independent artist.
+ Valerie Walker is a digitally rooted, fibres, analogue, trans-media artist \n"+ "with an active textile practice focusing on Natural Indigo dyeing and traditional shibori-zomé, katazomé techniques studied in Japan. Since 2000, \n"+ "she has been exploring web-based QuickTime Virtual Reality environments of her Shibori textiles via panoramic environments and freely rotating objects. With \n"+ "a B.Sc. in Electrical Engineering and Computer Science from the University Of California at Berkeley, Valerie jumps into her MFA at NSCAD Fall 2005.
\n"+ "+ Project Participants: Students at the Sophie-Barrat High School [Montreal] : Sara Benalem, Maude Bergeron Lambert, Justine Cloutier, Emilie Desrosiers, \n"+ "Alissar Jaber, Laurianne Ladouceur, Gwenaelle L’Heureux Devinat, Christine Tran.
\n"+ "+ And: Christine Brault [interdisciplinary artist], Therèse Chabot [artist and professor at Concordia University], Suzanne Marcil [artist], Erica Taddeo \n"+ "and Esther Viragh, [students in Cinema/Communications at Dawson College], Ly Tiane [biochemist et computer scientist], Diane Trepanière [artist] and \n"+ "Fathiya Wais [anthropologist].
+ The elderly interviewed who kindly shared their technological stories: Annette \n"+
"Buchanan, Imelda Chiasson, Jacqueline Dubreuil, Donalda Lafontaine, Louise Edith Hebert [Memes dechaînees], Rose Jette, Marguerite Lescop and Francine and Nicole Rober.
Shilpa Gupta + www.blessed-bandwith.net
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At first glance, the site appears to offer visitors the chance to receive an authentic blessing from the religion of their choice. Photographs and video \n"+ "provide 'proof' of the authenticity of this offer, as do certificates visitors can print out and retain. The deeper the visitor travels into Blessed Bandwith, \n"+ "the further he or she drifts away from the notion of 'authenticity'. Moving through these pages one wonders how bizarre religion will become in the information \n"+ "age, when, for instance, a personal 'love meter' can exist between you and your God?
\n"+ "The artist also plays the role of an authority figure in an over-sized uniform that is a cross between those worn by both the military and by monks. She holds \n"+ "a gun to her head, one moment apparently praying, and the next aiming her rifle at an unspecified target. Click on the image and she says: 'Do not panic. You \n"+ "are being watched. Get blessed. Feel secure.'
This incongruous figure calls attention to the overlap of religious and political \n"+
"interests that occurs in certain state institutions. Religion is often used today as a tactic of control, or as a means of creating hierarchies and divisions, \n"+
"not just within a specific country but also at the borders and beyond.
[excerpt, Johan Pijnappel, 11.03]
+ Shilpa Gupta lives and works in Mumbai, India. Her work is situated in a \n"+
"wide range of artistic expression: video and performance, netart, installation and actions in public space – and diversified in approaches and materials. \n"+
"Shilpa Gupta's work has been exhibited at Gallery Saakshi and NGMA in Mumbai where she lives, and at the Tate Modern [London], FAAM [Fukuoka City], Culturgest \n"+
"[Lisbon], Artspace [Sydney] and MAAP [Beijing] amongst other places. Recent projects are Blessed Bandwidth, commissioned by the Tate, and Your Kidney Supermarket \n"+
"which won the Transmediale Award 2004.
Emily Hermant + http://theliesproject.org
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Emily Hermant’s previous work explored notions of exaggeration, embellishment and tall-tale telling that constitute the act of lying. Collected lies from \n"+ "anonymous participants were embroidered and treated chemically so that only \n"+ "the stitch remained. One of the questions that the work raised is "What is present in this shadow?" Other questions, centered around the ideas \n"+ "of weaving and the stitch as silent records of traditionally feminine practices, also emerged.
\n"+ "The World Wide Web has references both to stitching and weaving in its construction. My interest in working on-line is to examine the transition, translation, and \n"+ "integration of these traditional and virtual practices. The Lies Project continues to examine the act of lying - in cyberspace. In a space where deception runs \n"+ "rampant, it investigates lying as both currency and tool in the transactions and construction of our everyday culture.
\n"+ "Participants are invited to again enter a virtual lying booth and submit their lies. The submissions continually generate woven networks of lies that in turn \n"+ "produce and sustain a virtual community. In addition, the Website intervenes in the user’s lying process by altering the content and quality of the \n"+ "lies. It occasionally poses questions to the user in order to break anonymity and prompt an interest in accountability. The Lies Project makes systematic \n"+ "alterations to the virtual world[s] that these lies attempt to construct---to question and challenge the power structures that are built with these words and that in turn govern our everyday interactions.
\n"+ "+ Emily Hermant is a textile and installation artist with recent pursuits in cyber-arts. She holds a BFA with Distinction in Studio Arts [Concentration: \n"+
"Fibres] and Religion from Concordia University. Her current work investigates ways of integrating traditional notions of craft and textile production with \n"+
"the quickly evolving fields of digital technologies and new media. She is particularly interested in how techniques such as embroidery, silkscreening, and weaving \n"+
"find their parallels in the languages and practices of virtual space. She lives and works in Montreal.
Andreja Kuluncic + www.distributive-justice.com
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Distributive Justice is not only a fundamental questioning of moral and political philosophy, but also an object of common-sense moral reasoning. Everyone is \n"+ "sensitive to the question of his/her share of the common good. Even those who get the best piece of the social pie are in need to justify the actual model \n"+ "of distribution. It has become a truism that most people [especially in transition countries] experience their own social position as unjust, relying on certain \n"+ "intuitive principles of distributive justice.
The multidisciplinary project Distributive Justice is a work-in-progress designed \n"+ "by people with different backgrounds [art, philosophy, sociology, economics and programming]. The project deals with the distribution of goods in a society. \n"+ "It consists of two parts:
\n"+ "1 > one in virtual space
This includes Internet games in which participants freely distribute material \n"+
"and nonmaterial goods, building a society that undergoes dynamic changes.
2 > one in an exhibition space, a working installation.
This includes presentation of material that has emerged and continuously grows \n"+
"out of the results of the respective parts of the project: virtual [the Web site], practical [field research, opinion polls]; and theoretical [study of \n"+
"relevant literature, open discussions, talks, lectures].
Several countries have been involved in the project - Italy, Germany, Austria, Australia, Croatia, US, Turkey, Slovenia and South Korea – with each leaving \n"+ "its imprint on the work and becoming a part of the exhibition. During the exhibition[s], visitors [participants] read materials, listen to lectures, chat, join the discussion, \n"+ "participate in the polls, print from the database, copy materials, videotape or record the events.
\n"+ "All elements of the project will later be integrated on a Web portal, a space designed by the participants for the exchange of information and opinions [mailing \n"+ "lists], archives and eventually, an open forum.
\n"+ "+ Co-Authors: Gabrijela Sabol [Sociologist], Ivo Martinovic [Photo & Video], Neven Petrovic [Philosopher], Matija Puzar [Programmer], Dejan Jankovic [Designer], Trudy Lane \n"+
"[Designer]. Collaborators: Tomislav Janovic [Philosopher], Momo Kuzmanovic [Newsletter & Catalogue Editor]
Paula Levine + paulalevine.banff.org
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The project is one in a series of hypothetical, hybrid spaces, cast by overlaying one site upon another. The work explores political, social and cultural impacts \n"+ "experienced through the collapse between what is "domestic" and what \n"+ "is "foreign."
San Francisco <-> Baghdad maps the pattern of bombs and missiles dropped \n"+ "upon Baghdad in March 2003 [during the first US assault on Iraq] and overlaid upon San Francisco. San Francisco bears the nickname of "Baghdad by the \n"+ "Bay," named by one of the city’s most beloved writers and columnists, Herb Caen in the 1950's.
\n"+ "Each bomb’s or missile’s site from that first US assault upon Baghdad is mapped upon the city of San Francisco. Each San Francisco site is waypointed \n"+ "with GPS coordinates, the same technology used to identify the target sites in Baghdad. Each San Francisco site has a map and series of images documenting \n"+ "the location that would have been destroyed had the bombs landed locally. In addition, a geocache is set at each location containing the names of all of \n"+ "the US military personnel who had been killed in the war between May 1, 2003 - the day that President Bush declared victory - and March 2004, the date of \n"+ "publication by the Village Voice of the list of dead US military.
The Web site also contains sources of information, references and a forum for \n"+ "public commentary. It references GPS technology, physical sites and the Web. The project was completed during a thematic residency – IntraNation – \n"+ "at the Banff Centre for the Arts.
+ Paula Levine is new media artist focusing on experimental narrative and new forms of narrative spaces. Her current research/art practice investigates GPS \n"+
"technology, wireless and remote devices. She teaches in Conceptual/Information Arts [http://userwww.sfsu.edu/~infoarts], an area focusing on art and emerging \n"+
"technologies, in the Art Department at San Francisco State University.
Jill Magid + www.evidencelocker.net/story.php
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For the past six years, Jill Magid has been using cameras to explore hidden spaces, whether focusing on her own body or that of authority.
\n"+ "In 2004, Jill spent 31 days in Liverpool, during which time she developed a close relationship with Citywatch [Merseyside Police and Liverpool City Council], \n"+ "whose function is citywide video surveillance – the largest system of its kind in England.
\n"+ "The four video works included in Evidence Locker were staged and edited by the artist and filmed by the police using the public surveillance cameras in \n"+ "the city centre. Wearing a bright red trench coat she would call the police on duty with details of where she was and ask them to film her in particular \n"+ "poses and places or even to guide her through the city with her eyes closed [as seen in the video Trust].
\n"+ "Unless requested as evidence, CCTV footage obtained from the system is stored for 31 days before being erased. For access to this footage, Magid had to submit \n"+ "31 Subject Access Request Forms – the legal document necessary to outline to the police details of how and when an ‘incident’ occurred. Magid \n"+ "chose to complete these forms as though they were letters to a lover, expressing how she was feeling and what she was thinking.
\n"+ "These ‘letters’ form the diary One Cycle of Memory in the City of L – an intimate portrait of the relationship between herself, the police \n"+ "and the city.
Registry on http://www.evidencelocker.net offers access to the diary and accompanying CCTV video files.
\n"+ "+ Jill Magid received a Masters of Science in Visual Studies at The Massachusetts \n"+ "Institute of Technology. She is attracted to situations from which she is excluded, whether they are spaces, systems or ideas. She looks for a point of entry and invents a means and methodology for access, participation, revelation, or exchange. \n"+ "Seeking out intimate spaces within the public domain, Magid began working with closed-circuit video cameras, interposing her own body within that of the social \n"+ "and institutional. Her work has marked a shift from focus on her own body to the body of institutions and their relative systems of authority.
\n"+ "She is currently commissioned by the AIVD- the Dutch equivalent of the CIA - to make an artwork for their new building.
Amanda Ramos + Michelle Teran + www.ubermatic.org/flatlandia
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Our social environment is becoming more of a composition of images and objects and less a complex of spatial configurations and architecture. Typically space \n"+ "is something you enter into and an image something you watch. Space is deep and an image is flat. In Flatlandia, the opposite is explored. Images have dimensions \n"+ "giving us room to move within them [ex. an interactive webcam of an interior] and spaces are missing dimensions only allowing us to look at them [i.e. a storefront \n"+ "window]. They are places that act as though they are in a dimension other than their own.
\n"+ "Flatlandia uses a taxonomic approach for finding and naming examples of 'images spaces' in cities. The documentation is being collected, organized and linked \n"+ "together within a searchable database system. Location, point of view, author, image type, and contents of the image are some properties used to create associations \n"+ "between the material. The visual information is then used to generate hypothetical actions, recipes or 'codes' for ways to 'play' the city.
\n"+ "As a 'dataplace', Flatlandia provides us with a workspace to conceptually experiment with the transformation of our urban environment. It cultivates an experience \n"+ "that informs the production of new physical manifestations of the imagery. A language of flatness is developing through the site, a language that is transferable \n"+ "and inspiring to a range of new and ongoing artworks.
Flatlandia is open to contributors and collaborators.
+ Trained as an architect, Amanda Ramos is an installation artist and exhibition designer who focuses on creating environments that integrate environments and media. Her work involves urban graphics, interface installations, social play, \n"+ "material and image research. She has worked on exhibitions and participated in conferences in Canada, the U.S., Netherlands, Finland, Denmark, Austria, \n"+ "Germany and Italy such as the Venice Architecture Bienalle [04], ISEA [04], Images Festival [00/01/02/03], DEAF [96/00], Interaccess, Creative Time, Mercer \n"+ "Union, and the New Museum.
+ As media artist, Michelle Teran examines the intertwining of social networks and everyday social spaces with their technological counterparts, developing works that are concerned with issues of communication, surveillance, psychogeography, \n"+
"presence, intimacy, social ritual, play, collaboration and public participation. Her creative activities include live installations, online and public street \n"+
"performances, connected events, web art, temporary artistic labs, lectures, and video.
Millefiore Effect + www.millefiore.com
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"+ movie excerpt [Quicktime, 7.3 MB]\n"+
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FRONT consists of two lightweight wearable suits that both contain offensive \n"+ " and defensive inflatable air sacs. Attendants help participants into the suits, \n"+ " which strap around their shoulders, over their clothes. When one growls or sings, \n"+ " his/her own offensive sacs inflate, along with the other participant's defensive \n"+ " sacs. If both players are loud enough, both suits will entirely inflate. When \n"+ " the players are quiet, the suits deflate.
\n"+ "FRONT developed from the idea of creating garments that change in response \n"+ " to the wearer’s emotions. We set out, not to dress the user as an animal, \n"+ " but to create a similar means of outward expression of internal states for humans. \n"+ " As we worked on the suits, they presented ideas around conflict and violence: \n"+ " they suggested a ritualized, ceremonial form of combat that defused aggression \n"+ " simultaneously as it played on it.
\n"+ "At rest, the suits remain deflated with small fans sucking air out of them. \n"+ " When a player growls into his/her suit's microphone, a small circuit amplifies \n"+ " the audio signal to a level tracked by a microcontroller. Once the volume exceeds \n"+ " a certain level, a Basic Stamp II microcontroller uses an H-bridge to switch \n"+ " the polarity of the player's offensive fan, causing it to inflate the corresponding \n"+ " offensive air sacs on his/her suit. Simultaneously, it sends a signal to the \n"+ " other suit instructing it to inflate its own defensive sacs.
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Tamara Vukov + http://www.pomgrenade.org/WGR/
\n"+ "War Game Room is an audio/web installation that examines the increasing collaboration and interpenetration of military technologies [particularly military simulation], \n"+ "the entertainment industry, war video games and new media technologies, in what some call the MIME [Military Industrial Media Entertainment] complex.
\n"+ "The project magnifies and situates wargameplay around a recently released commercial product that is an exemplary instantiation of the MIME complex: the war video \n"+ "game Full Spectrum Warrior. FSW was initally produced by the US Army and the gaming industry as an army training simulation called Full Spectrum Command. \n"+ "It was re-released in 2004 for the X-box and became a top-selling videogame.
Visitors are invited to play Full Spectrum Warrior while a sound piece looped \n"+ "in the installation space intervenes and recontextualizes the visitor’s experience of game play. On the facing wall, an opposing projection of the War \n"+ "Game Room Web site further frames and plays off of the dominant MIME-based imagery of war spectacularized in the game. Finally, a 4-panel display modelled on the \n"+ "display booths at military and weapons industry expositions highlights both the boldness and the marketing detail with which the MIME complex peddles its \n"+ "wares of war and militainment technologies.
The installation scrutinizes the ways which this ever-expanding repertoire \n"+ "of MIME-based media forms shape our sociocultural ways of seeing military conflicts, how they cultivate specific visualization techniques and a wider visual vocabulary \n"+ "of 21st century war.
War Game Room appeared at the City of Women 10th International Festival of Contemporary Arts in Ljubljana, Slovenia [2004]. \n"+ "Music by Boyfriend [Bernadette Houde and Maija Martin].
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Corpos Informaticos+ www.corpos.org
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Ctrl-C Ctrl- C is a telepresence performance that explores the possibility of poetic interaction in a telematic environment, the notion of the absent body \n"+ "which participates in an affective aesthetic experience, using the Internet as a space of realization and the public [on-line and live] as co authors of \n"+ "the work. Telepresence performance takes place on the World Wide Web. It involves de-territorialized bodies, reorganized [re-orphans] in monitors that are dispersed \n"+ "in the world. The Internet, a net of communication, is in fact a net of information. In telepresence performances, subjectivities are connected in real time, in \n"+ "direct communication; interlocution. The concept of Performance Art widens itself: an ephemeral and presence-oriented art, can it be virtual? How much [or how \n"+ "much longer] is the spectral body able to arouse emotion, affection? What is the concept of "group" for the one who extends oneself and becomes \n"+ "part of the Internet community? The collective work that requires such openness of its members is now open to numerous, infinite participants with different \n"+ "perceptions of interlocution. This communication, a truthful sharing, is it only an idea of encounter? For Performance Art in telepresence, is it an opening \n"+ "for the body to became spectral? Or is it just submission to the demands of the machine?
\n"+ "Ctrl-C Ctrl-C is a event where artists in different locations - Brazil, USA, Germany, Montreal and on the Web - will interact, towards the idea of presence \n"+ "itself, of the body mediated by technology.
\n"+ "+ Corpos Informáticos was composed in 1992 at the University of Brasília, Brazil. \n"+
"The guideline to its reflections has been that of human beings "redimensioned" by ubiquitous technologies. Its practices involve interactive exhibitions, urban \n"+
"interventions, performances and video art. Its members are: Alexandre Cerqueira, Carla Rocha, Cyntia Carla, Francisco Rah, Maria Beatriz de Medeiros [Coordinator], \n"+
"Marta Mencarini, Maycira Leão, Pablo Braz and Renata Barreto.
Michelle Teran + www.ubermatic.org/life
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Moving through the city streets with a video scanner reveals a hidden layer of personal fragments and stories that are broadcasted by the private owners \n"+
"of surveillance cameras. The accumulation of these autonomous yet synchronous acts contributes to an invisible ad-hoc network of media permeating the socially \n"+
"codified spaces of our urban environments: the café, the apartment building, the store, the parking lot, and the street.
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"Life: A User's Manual' is a shared experience in visualizing the invisible. Together with the participants, an urban, nomadic persona walks the city streets \n"+
"with a scanner and broadcasts wireless surveillance feeds on a TV monitor. The audience, led on this journey, is drawn into a borderline action of entering \n"+
"into an alternate view of public and private space, not usually seen.
+ As media artist, Michelle Teran examines the intertwining of social networks and everyday social spaces with their technological counterparts, developing \n"+
"works that are concerned with issues of communication, surveillance, psychogeography, presence, intimacy, social ritual, play, collaboration and public participation. \n"+
"Her creative activities include live installations, online and public street performances, connected events, web art, temporary artistic labs, lectures, \n"+
"and video. She has presented, performed and exhibited at events and venues throughout North America, Europe and Japan such as Transmediale05, ISEA [02], DEAF [00/02/04], \n"+
"PICA, Performance Space, Mercer Union, InterAccess, Impakt, Argos Festival, and also the World Wide Web.
Suzanne Binet-Audet, Karèya Audet + Michelle Kasprzak Well before the current era of globalized telecommunication networks, many young people were mass-producing the equipment which made this century the Age \n"+ "of Communications. In gigantic workshops, which sometimes constituted whole towns, the pace was machine-like, but the performance was immaculate.
\n"+ "La Revanche des Opératrices [The Revenge of the Operators] aims to grave into our memory the anonymous workers at the root of modern mass \n"+
"means of communication using repetitive, rhythmic images, much like the workers’ gestures. Images modified by technology, just as they themselves were...
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"This program of video mixes and musical improvisations features Suzanne Binet-Audet on the ‘ondes Martenot’ accompanied by Karèya Audet who plays \n"+
"with elements from the soundtrack of the film - The Phantom of the Operator [Caroline Martel, 2004]. The images presented by VJ Faux amie are taken from \n"+
"unedited material from the same film, while the performance is being captured in real time. Some of the images evoke the editing of Dziga Vertov and Yelzavela \n"+
"Svilova, the predecessors of scratch video, in L’Homme à la caméra [1922].
+Suzanne Binet-Audet [1942] has played the ‘ondes Martenot’ since 30 years, having received a Medal from the National Conservatory of Music in \n"+ "Paris, in the class of inventor Maurice Martenot. She performs in Canada and the United States with different groups and frequently collaborates in contemporary \n"+ "musical creations.
+ Parallel to her work as a composer of electroacoustic music, Karèya Audet [1970] deepens her knowledge of voice for classical, \n"+ "sacred, popular and tradtional music repertories, since more than 10 years – even to touch upon those working with electronic modifications.
\n"+ "+ Michelle Kasprzak [1977], under the pseudonym – VJ Faux amie – is an interdisciplinary artist and young researcher [InterAccess Electronic \n"+
"Media Arts Centre Emerging Electronic Artist award, 2001].
Raylene Campbell I Dream Eye - an audio/video art performance by multidisciplinary artist Raylene Campbell - explores, documents and reflects dream in many levels and experiences \n"+ "of consciousness. "I Dream Eye" incorporates E.I.S. [the Expanded Instrument System], improvised accordion, and video installation. E.I.S. is \n"+ "computer interactive performance software developed by Pauline Oliveros over thirty years of research, experimentation, and collaboration. Raylene has recently \n"+ "made personal modifications to E.I.S. with the programming assistance of Stephan Moore. E.I.S. provides Raylene with the ability for real-time processing and \n"+ "spatialization of live accordion/vocal improvisation, and for triggering audio files. The video installation creates a direct relationship between sound and \n"+ "image: during the live performance, video is projected into a metal bowl containing water that rests on a sub-woofer. The sound generated from the performance vibrates \n"+ "the water, thereby naturally distorting and diffusing the image.
“I Dream Eye” involves the creative exploration of dream, the transitions \n"+ "and connections of moving from unconscious awareness into conscious awareness, and dreambody. In his book Memories, Dream, Reflections C.G. Jung wrote “The \n"+ "dream is the small hidden door in the deepest and most intimate sanctum of the soul, which opens into that primeval cosmic night that was soul long before \n"+ "there was a conscious ego and will be soul far beyond what a conscious ego could ever reach.” The primary focus of this production is to create a dream \n"+ "experience based on the principles of attraction vs. opposition. The performance has emerged following six years of dream journaling and explorations of the \n"+ "dreambody in sound and movement.
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Nathalie Derome + Nathalie Dion The two Nathalies live in the same neighbourhood and sometimes take the teapot by the handle and improvise. They meet for a couple of hours and agree that \n"+ "it’s good to take time to talk and wax lyrical; to share images, photos, inspiration, piano movements, games, pedals, etc.
\n"+ "
Le Bon Voisinage [Good Neighbours] is an audiovisual performance in three parts:
1 > Nathalie Derome, who lives on the side facing the yard, presents Chantillons [Samples].
\n"+
"She composes songs so short that she calls them chantillons [samples]. She accompanies herself with a Casios and a rhythm machine [that she operates \n"+
"with her bare feet]: an assortment of outmoded instruments from the backs of musician friends’ closets make for fun exercise. Reflections on the people \n"+
"around her, her neighbourhood, her planet… Often funny, sometimes touching and always sincere.
2 > Nathalie Dion, who lives on the garden side, presents Zig Zag Z.
Voices, travel, experiment, explore, play with textures, text and words. Whistle, \n"+
"blow, venture down the path of serpentine sounds.
Discover the city, its multi-ethnicity. Pedal away.
\n"+
"Have a break in the garden, savour an orange, drink some mint tea and let yourself be lulled by ragga and hehe chants.
3 > Neighbourhood duo: The two Nathalies meet for a vocal improvisation which revisits the neighbourhood from different angle. Video images punctuate the performance.
\n"+ "+ Nathalie Derome, interdisciplinary artist and performer, questions the practice of “make believe” by various means. Her work follows two paths: performances within the framework of contemporary art events, and interdisciplinary acts presented by her company Les Productions Nathalie Derome.
\n"+ "+ Nathalie Dion [ Zazalie Z.] sportively participes in cultural life since 20 years. She explores vocal art, plays on the chords of the experimental, amuses herself with sounds and words, hammers on the pedals and presents her sonorous poetry…
Dj Jasmine + Dj Jasmine [aka Jasmine Courneya] is a versatile DJ with a diverse music collection- regularly playing breakbeats of all kinds - roots and dancehall \n"+ "reggae, funk, hip-hop, 80's/90's dance hits, as well as some Cuban and Indian [Bhangra] dance music. As comfortable playing tasteful downtempo sets as she \n"+ "is fuelling a party dancefloor, she always strives to play a little something for everyone.
"); var Cyan = ("
Dj Cyan + http://www.traktion.com
\n"+
"
+ A Montreal based Dj with sound that can best be described as layered, dense and deep rhythms intersecting the\n"+
"genres of techno, house and electro. Cyan co-hosts the radio magazine Modular Systems on CKUT FM 90.3. She is\n"+
"involved in the phoniq collective and has recently released her 6th independent Dj mix entitled Gravity Protocol.\n"+
"She can been seen regularly at events working the wheels of steel.");
var Alice = ("
Alice + The Serial Numbers / K-project
[Quebec]\n"+
"
+ www.alicemusik.com
\n"+
"
+ International artist-producer-remixer, Alice interprets powerful electronica, harmonious as it is rhythmic. She performs live with her \n"+ "friends: series of numbers, electronic gizmos and computer. An accomplished musician as well as sound designer in the video-game industry, Alice intends \n"+ "to reveal the compositions which will appear on her next opus.
+ In her artistic creations, Valérie Leduc [K-project] puts forward her multiple interests: fashion design, contemporary art, human relations, trips \n"+ "and of course, graphic design and new media. She draws upon them, whilst placing a critical, sensitive and above all, intuitive gaze upon what makes the world \n"+ "turn. Valérie specialises in filming images and the creation of original graphic elements.
"); var GNU = ("
DJ Mini + http://www.djmini.com
\n"+
"
+ DJ Mini, the undisputed queen of Montreal's electro scene has only one desire: to captivate her audiences. \n"+
"Although electro remains the corner stone of her sets, Mini doesn't shy away from integrating music with punk-rock, industrial, techno or even breakbeat influences. \n"+
"Nourished by an immeasurable thirst for knowledge and moved by a desire to outdo herself, Mini seeks to leave her mark, and this, with one and all.\n"+
"Mini has known how to make a name for herself in the Montreal scene. Various nominations as best Dj of the year by Montreal's weekly magazines Hour and Ici, \n"+
"have been reflections of her talent. The people are unanimous, Montreal has a DJ of international calibre.
Joanna Berzowska + www.xslabs.net
\n"+
"+ www.ifm.com
\n"+
"
\n"+
"This demonstration will introduce students to the idea of electronic textiles and to the principles of soft circuit design through hands-on demos and experimentation. \n"+
"It will include: a basic introduction to electronics ; the construction of a simple circuit ; a show and tell about conductive cloth and yarns and soft electronics ; \n"+
"the construction of a reactive squeezable object [the soft switch].\n"+
"
\n"+
"+ Joanna Berzowska is an Assistant Professor of Computation Arts at Concordia University in Montreal. Her teaching and research center primarily around "soft \n"+
"computation": electronic textiles, responsive clothing, wearable technology, reactive materials and squishy interfaces. She is the founder of XS Labs in \n"+
"Montreal, a research studio that develops artifacts that are extra soft and react in weird ways to our bodies and our environments. She was also the cofounder
\n"+
"of International Fashion Machines in Boston, where she developed the first electronic ink wearable animated display and Electric Plaid, an addressable color-change textile.");
var Binet = (" Suzanne Binet-Audet
An Afternoon with the ondes Martenot
[Québec]\n"+
"
+ dossier
\n"+
"
\n"+
"Peu d’entre nous connaissent l’importance des ondes Martenot dans le paysage musical de notre siècle. Malgré que leur son le plus \n"+
"typique -fréquence haute, plaintive et « hantée »- soit reconnaissable, l’instrument demeure pratiquement anonyme, ou encore reste \n"+
"confondu avec le Thérémine… Afin de faire découvrir l’histoire fascinante et le fonctionnement électronique et acoustique \n"+
"de son magnifique appareil « technorétro », l’ondiste émérite Suzanne Binet-Audet donnera un atelier de maître pendant \n"+
"lequel les gens -musiciens, fans des vieilles technologies futuristes et curieux prêts à être charmés- pourront voir et même toucher \n"+
"la bête de proche. \n"+
"
Suzanne Binet-Audet (1942) joue des ondes Martenot depuis une trentaine d’années, ayant obtenu une Première médaille du \n"+ "Conservatoire national supérieur de musique de Paris dans la classe de l’inventeur Maurice Martenot. Tant \n"+ "au Canada qu’aux États-Unis ou en Europe, elle se produit en concert avec différentes formations et collabore fréquemment à des \n"+ "créations musicales contemporaines. En parallèle à son travail à titre de compositrice de musique électroacoustique
"); var Constant = ("
Constant + www.constantvzw.com/cuisine
\n"+
"+ www.constant.irisnet.be/gallery/cik
\n"+
"+ www.interface3.be
\n"+
"+ www.ada-online.org
\n"+
"+ www.digitales-online.org
"Imaginative work [..].is like a spider's web, attached ever so lightly perhaps [..] these webs are not spun in midair by incorporeal creatures, but \n"+
"are the work of suffering, human beings, and are attached to the grossly material things, like health and money and the houses we live in."
\n"+
"Virginia Woolf, A Room of One's Own, 10/18, p.64
Where and how do we work? In a kitchen? In a factory? In a shop? In a studio? \n"+
"Within a feminist festival? On stage? In an office? And you?
\n"+
"What is work? For what society/firm? Under what conditions? Who has the information, the tools?
Could the artist be a model worker, woman a model citizen?
With the help of 17 questions, microphones, minidiscs, free software, and their practical knowledge, the paths of 3 women cross those of artists, non-artists,\n"+ "cultural workers. These 3 women move through the HTMlles event, weaving their way with recipes and experience. At the intersection between culture, work and \n"+ "working culture, Cuisine Interne Keuken mutates permanently, [inter]reacting to context, tools and the people that have passed through.
\n"+ "Montreal artists and workers are invited to take part, share, and experiment with the tools, questions and answers that have been collected on several occasions.
\n"+ "+ + + + + + + + + + + + + + + + + + +
> ingredients:
_interviews and a workshop
1. Name, Forename
2. Age
3. Place of birth and current geographic location
\n"+
"4. Academic background, if any
5. Number of dependents
6. How would you define your activity/ job/profession?
7. How do you introduce yourself to someone?
\n"+
"8. Can you make a living from it ? If not, how do you make a living?
9. Do you have a price list / fees?
10. How are they calculated?
\n"+
"11. Who pays the price/fees? public authorities, institutions, private clients, companies, audiences, other. What are the conditions ?
\n"+
"12. Do you retain ownership of your work/works once transfered ? With what, with whom?
13. Please, specify the equipment/materials used in your work and their origin. \n"+
"More generally, what form does this inv estiment take : collective buying, loan, gift, etc ?
14.Do you work in group, if so, with whom, what for, why ?
\n"+
"15/16. Other questions, other answers
Debriefing the mobile investigation. Discover, learn how to be an investigator \n"+ "and exchange techniques, digital tools and practice with the team of Cuisine interne Keuken. Learn opensource audio software. Ask the questions that we did \n"+ "not ask.
_consultation of past interviews
With 50 interviews soon accessible on this site, Cuisine Interne Keuken combines \n"+ "the rigor of an anthropological survey with the messiness of private conversations. The adaptation of cooking language forms a deliberate move away from a more \n"+ "sensational "look behind the scenes", and from efficiency driven or technocratic terms in which design and art practices are mostly described in, \n"+ "if at all. It smells, it's messy, tickles the taste buds, fills the stomach but there's always a lot of dishes too. We offer them here to you for consulting, \n"+ "remixing, inspiration, learning and listening pleasure: a culinary jukebox of some sorts.
\n"+ "_a presentation of the evolutions/mutations of the project
_a humourous and interactive performance from gathered and processed audio \n"+ "material collected through the week thanks to the questionnaire, interviews and diverse actions.
\n"+ "[human components]
+ Constant is an artist-run organisation active in gender issues, open source, \n"+ "networks, DIY technology etc., developing projects in different places and within different layers of the code behind digital media.
\n"+ "+ Interface3 is a centre for women's vocational training coordinating the *ADA* network programme for women and technology.
\n"+ "+ Laurence Rassel is a Cyberfeminist and member of Constant vzw, an artist-run organisation in Brussels which links artistic and theoretical thinking on the \n"+ "Internet and digital communication. Constant is active in gender issues, alternatives to copyright, networks, etc., developing projects in different places and within \n"+ "different layers of the code behind the digital media. With Interface3, a centre for womens' vocational training and the ADA network programme for women and \n"+ "technology, Laurence is an organiser of 'Digitales' a working conference bringing together since 2001women from various backgrounds dealing with new technologies.
\n"+ "+ Marie-Françoise Stewart-Ebel, a paradoxical* feminist for 30 years, hands in the pot of gender politics and still an optimist activist, is firmly \n"+
"looking towards the future, inspired by the generations of feminists who kept questioning the societies in which they lived to invent better ones: suffragettes, \n"+
"socialists, pacifists, ecofeminists, cyberfeminists and lesbians. She co-founded Interface3asbl and the European Network of Women in the 80s. She is an active \n"+
"Woman in Black, co-organiser of 'Digitales' and helper of other women's projects. Officially a free-lance translator and mother of 4 adult children.
\n"+
"*as in paradoxical sleep : phase of sleep when dreams occur.
+ Wendy Van Wynsberghe reported on the "Cyberfeminist working days", \n"+
"organized by Constant vzw in 2000. She recorded events and did interviews. She was astonished by the content, the people and positively intrigued with an aftertaste \n"+
"of "more of this, please" and "what is this? I like what it's doing to my brain". As the years passed, her involvement with Constant \n"+
"grew from opening beers behind the bar and chattering to making microphone cables and letting those brains work again. She has participated in 'Digitales' and \n"+
"is now a do-it-all and DIY element of Constant. This goes from photocopies to calling ministries asking how they work and getting an answer! This year was \n"+
"under the sign of money and funding - Constant's, Wendy's, government's - finding out how that all works. Next to the Constant-persona, she is a musician under \n"+
"the pseudo Wy and Remork and an occasional member of the noise impro "band" R.O.T.
Isabelle Massu + www.hawabecedaire.org
\n"+
"+ www.la-compagnie.org/profil
\n"+
"+ womanwork\n"+
"
This workshop looks at questions on work, on the representation of women in work, whilst practically demonstrating the free software – Spip [www.spip.net], \n"+
"a tool for Internet publishing.
How does one represent women’s work? How does one re[present] oneself \n"+
"at work when one is a woman?
Using an alphabet primer in the form of a blog, the site contains proposals \n"+ "which permit orienting discussion towards different political, ethical and esthetic questions. This workshop follows upon one previously given in Brussels, in collaboration \n"+ "with Peggy Pierrot, during Digitales 2004 [http://www.digitales-online.org]. It is presented in association with the Centre de documentation sur l’éducation \n"+ "adulte et la condition féminine [CDÉACF].
\n"+ "+ Isabelle Massu will present her personal and collaborative work during the HTMlles, developed with SPIP, for professional [La Compagnie / Hawabecedaire], \n"+ "artistic [aux2mondes] or activist [Les Penelopes] ends. She is a member of La Compagnie [Marseille]. Space where intersects exhibitions, debates, artist residencies, spontaneous little invitations, film projections and temporary workshops.
+ Le Centre de documentation sur l’éducation adulte et la condition \n"+
"féminine is a crossroads of exchanges and a space of expression. Its mission is to collect, disseminate, promote and offer access [in french] to experiences and knowledge of the following communities: adult education, literacy and women’s condition – in Quebec and French-Canada. Founded in \n"+
"1983, the CDÉACF now develops several specialised Web sites, notably Netfemmes.
Beatriz da Costa + www.beatrizdacosta.net
\n"+
"+ parasitelab.net
\n"+
"+ www.preemptivemedia.net
\n"+
"
\n"+
"
Beatriz da CostaBeatriz da Costa will present excerpts of her previous collaborative work with Critical Art Ensemble as well as her current work with Preemptive \n"+ "Media and the Parasitelab initiative recently started at the University of California Irvine. Her work with Critical Art Ensemble was developed in response to the \n"+ "growing influence of genetically modified organisms on a global economic scale. Much to the detriment of traditional hybrid and organic farming, biotech companies\n"+ "have gained market shares on the global food economy, which influence global trade relations to the level of market manipulation. Preemptive Media, has developed \n"+ "a body of work concerned with the surveillance of personal electronic information and its applications in mobile computing devices. Preemptive Media’s most\n"+ "recent project Zapped!, introduces the use of living animals as carriers of electronic data, that interrupts radio frequency identification systems in commercial \n"+ "and public environments. The newly formed Parasitelab aims to facilitate explorations in interdisciplinary research, combining the fields of Science Studies, New \n"+ "Media Art, Bioinformatics and Molecular Biology.
\n"+ "
Igloolik Isuma Productions
Video-chat with women artists [Inuit and non-Inuit] in Igloolik, Nunavut. Participants include members of the SILA production team as well as Michelline Ammaq and \n"+
"Leah Angutimarik, members of the creative team producing the feature film – The Journals of Knud Rasmussen.
The SILA Web site is Isuma’s first large-scale e-learning initiative, supported by Telefilm Canada’s New Media Fund. SILA uses audiovisual material \n"+ "on-line to preserve and promote Inuit language, history and culture, and by connecting Inuit and non-Inuit communities through the Internet. The core SILA \n"+ "team is composed of Katarina Soukup, Oana Spinu and Natalie Melançon, and includes the collaboration of Inuit and non-Inuit educators, artists, multimedia \n"+ "experts, writers and youth trainees working in Igloolik and Montreal.
\n"+ "+ Igloolik Isuma Productions Inc. is Canada’s first Inuit video production collective, founded by artists Zacharias Kunuk, Paul Apak Angilirq, Paul Qulitalik \n"+
"and Norman Cohn. Isuma’s Inuit style of drama has won awards and recognition in Canada and around the world, most recently with its feature film Atanarjuat \n"+
"The Fast Runner. Their mission since 1990 has been to use cutting-edge communications technologies to preserve, promote and enhance Inuit culture and language.
Katherine Moriwaki + www.kakirine.com
\n"+
"
\n"+
"This presentation focuses on 'social fashioning' as the process of using clothing and accessories as the active conduit through which people create network relationships \n"+
"in public space. The concept of the self never exists in isolation, it is a process of negotiation between the environment and others. Identity is active \n"+
"dialogue between inner and outer processes. Within public and urban spaces fashion acts as a mediator between the individual and the group, contributing to a production/construction \n"+
"made up of people, independently in a amplified triad, constantly interpreting and piecing together the city through individual view points and actions. This \n"+
"has implications for the how a space is experienced and remembered. Individual and collective memory does not have to take on the totalizing objectivity of \n"+
"surveillance or aggregated data, it can be differentiated, the result of independent individual actions. Four works by the artist will be discussed which represent \n"+
"various degrees of technical and social resolution. They represent various facets of the 'socially fashioned' network, one where fashion, communications technology, \n"+
"and urban condition meet.
Projects discussed: Recoil, Urban Chameleon, Inside/Outside, and Umbrella.net.\n"+
"
\n"+
"+ Katherine Moriwaki is a Ph.D. Candidate in the Disruptive Design Team of the Networks and Telecommunications Research Group at Trinity College Dublin. \n"+
"Her work has appeared in IEEE Spectrum Magazine and numerous festivals and conferences including numer.02 at the Centre Georges Pompidou [02], Break 2.2 [03], Ubicomp \n"+
"[03,04], eculture fair [03], Transmediale [04], CHI [04], ISEA [04], and DEAF [04]. She is a 2004 recipient of the Araneum prize from the Spanish Ministry \n"+
"for Science and Technology and the Fundación ARCO.
");
var Willet = ("
Jennifer Willet
Bioteknica
[Quebec]\n"+
"
Bioteknica is a fictitious corporation, which projects its viewers into the \n"+ " future, where designer organisms are generated on demand in a virtual laboratory. \n"+ " The organisms produced by Bioteknica, however, do not adhere to the structures \n"+ " and functionality normally manifest in nature. Similar to mutations depicted \n"+ " in The Fly, Rosemary’s Baby, and Alien Resurrection, our specimens are \n"+ " irrational and grotesque. They are modeled on the Teratoma, an unusual cancerous \n"+ " growth containing multiple tissues like hair, skin, and vascular systems. Monstrous \n"+ " as this may seem, scientists today see the Teratoma as an instance of spontaneous \n"+ " cloning, and are conducting research on the Teratoma with the goal of developing \n"+ " future technologies. Bioteknica both embraces and critiques biotechnology, considering \n"+ " the contradictions and deep underlying complexities that these technologies \n"+ " offer the future of humanity.
\n"+ "In the past, Bioteknica has manifested as a purely multimedia production/installation. \n"+
" However, we are now taking steps to bring our theoretical specimens out of their \n"+
" virtual environment and into the laboratory. In the summer of 2004 we were invited \n"+
" to work as Research Fellows at the Symbiotica Art/Science Laboratories at The \n"+
" University of Western Australia, where we began preliminary investigations into \n"+
" growing organic prototypes that serve as new representations of our product \n"+
" line. Here we commenced research with tissue culture protocols in the production \n"+
" of artwork - as pioneered by Oron Catts and Ionat Zurr, of the internationally \n"+
" recognized Tissue Culture and Art Project, and Symbiotica founders.
\n"+
" Bioteknica: Organic Tissue Prototypes will be completed in 2006.
Jennifer Willet is an artist, a part-time faculty member in Studio Arts and \n"+
" a PhD student in the Interdisciplinary Humanities program at Concordia University.\n"+
" Her work explores notions of self and subjectivity in relation to biomedical, \n"+
" bioinformatics, and digital technologies with an emphasis on social and political \n"+
" criticism. She has exhibited, and presented her research extensively across \n"+
" Canada and internationally. Since 2002, she has collaborated with Shawn Bailey \n"+
" on an innovative computational, biological, artistic, project called Bioteknica.
\n"+
"Video Program : Ilse Gassinger > Magnétique / Ardele Lister > Hell / Gabriela Golder > À la mémoire des oiseaux /\n"+ "Joanna Empain > Traces / Tamara Vukov > NatoNosferatu
+ givideo.org
\n"+
"
5 videos ; surveillance, the surveyed, observation. The watched-becomes-watcher \n"+ "gaze of the artists offer variations on the themes of looking and being looked upon. Turning the camera on themselves and their environments, they question: \n"+ "How are women both viewed and made absent?
Magnetique [Ilse Gassinger] - Using footage from surveillance cameras \n"+
"[and footage shot to look like video surveillance] Gassinger proposes a kind of mediated woman who exists somewhere in the colorized space between monitor \n"+
"and camera, seen but untraceable.
Hell [Ardele Lister] is the commonplace and everyday. Lister offers \n"+ "her own definition of hell, made before the term ¨new media¨ would define a new generation of practitioners. She highlights the correlation between hell \n"+ "and image storage and retrieval. This Hell is also the extraordinary special effects she generated with what is now considered obsolete technology.
\n"+ "À la mémoire des oiseaux [Gabriela Golder] is a mix of personal archives and public memories of dictatorship in Argentina. Though \n"+ "young at the time, Golder suggests that her childhood memories offer a valid interpretation of personal/politcal turmoil.
\n"+ "Traces [Joanna Empain] - the movement of a woman walking becomes a catalyst for the appearance/disappearance of images. The body moves, trailing \n"+ "memory-images behind.
NatoNosferatu [Tamara Vukov] is German Expressionism [Nosferatu by \n"+ "Murnau] crossed with imagery from Nato bombing strikes of ex-Yugoslavia. Science, science-fiction, expressionism and military technology make a heady mix. Pomgrenade \n"+ "points out that monsters are everywhere, whether they are the living dead [Nosferatu] or the dispassionate eye of the high-tech crosshairs fixed on a target.
\n"+ "+ Groupe Intervention Video [GIV] came into existence in 1975 and celebrates its
30th anniversary this year.
GIV, as a diffuser/distributor and producer, stands out in its implication in the diverse stages of work by video makers, and in pursuing a policy of overall \n"+
"assistance with the artists. Through time, use of video has been, and remains, strategic, a close companion of activists and artists, inserting itself in the \n"+
"intimacy of communities and processes, revealing individual and collective imaginaries and pains. Collaborations undertaken with new media artists these past years \n"+
"allows us to glimpse into the itinerary that the organisation pursues, with importance on exploration and multiple appartenance.
\n"+
"To emphasize its 30th anniversary, GIV is proud to be associated with the HTMlles for its 7th edition, an event which allows the discovery of remarkable local \n"+
"and international artists.
Caroline Martel + www.artifactproduction.ca
\n"+
"
The 20th Century had its invisible workforce: telephone operators. Not just "voices with a smile", they were shooting stars in a universe of infinite \n"+ "progress. They were test pilots for the management systems of their time. The Phantom of the Operator reveals them in a unique montage film crafted from 150 \n"+ "rarely seen industrial, publicity and scientific management films produced in North America between 1903 and 1989.
\n"+ "Reviewed as “an enormously imaginative docu… an hour of non-stop visual and intellectual stimulation” by Variety Magazine, The Phantom \n"+ "of the Operator is the first independent feature by Montréal filmmaker Caroline Martel. Splicing together fantastic remnants from our era into a dreamlike \n"+ "documentary, it proposes a wry yet ethereal portrait of human society in a technocratic age.
\n"+ "The Phantom of the Operator brings out of the shadows not only the “Voices with a Smile”, but also some amazing 20th Century corporate films, as \n"+ "well as an arcane musical instrument: the ondes Martenot, played by Suzanne Binet-Audet. Adding to the mood, the voice of award-winning actor Pascale Montpetit \n"+ "accompanies us on this voyage of science and fiction.
The film has been screened internationally at festivals such as those of Toronto \n"+ "[TIFF], Vancouver, Amsterdam [IDFA] and Taipei, and premiered this spring in the United States at the New Museum of Modern Art [MoMA], New York. It will \n"+ "be presented by the Cinéma Parallèle at Ex-Centris from May 27 to June 2, 2005.
\n"+ "+ Caroline Martel is a documentary artist who was born in Montréal the year the cellular phone was created [1973]. She has BA in Communication Studies \n"+
"and an MA in Media Studies from Concordia University. Since 1998, she synthesises documentary theory and practice in a variety of projects. Hold the Line \n"+
"[Dernier Appel, 52 min, National Film Board of Canada, 2001] was her debut in professional filmmaking; The Phantom of the Operator [Productions artifact, \n"+
"2004], is her first feature-length production as an independent producer-director.
+ multitudes.samizdat.net
\n"+
"
This article discusses the formation of queer theories and movements, their relationship with feminism and the political use they make of Foucault and Deleuze. \n"+ "It also explores the theoretical and political advantages procured by the notion of “multitudes” in regards to sexual difference in relation to the \n"+ "queer movement and its theory. Contrary to what is happening in the US, the European queer movement is being inspired by anarchy and the emergence of transgender \n"+ "cultures to combat the “Sexual Empire”, notably by proposing a de-ontologization of identity politics. Ther are no longer natural bases (woman, gay etc.) to \n"+ "legitimate political action. The importance no longer resides in sexual or homosexual difference but in queer multitudes. A multitude of bodies: transgender bodies, \n"+ "men without penes, dykes, fags, cyborgs, butch women, lesbians... The sexual multitude appears as the possible subject of queer politics.
\n"+ "
The Politics of Queer Multitudes
Gender, a notion serving the reproductive politics of sexed life, has become \n"+ "the banner of a multitude. Gender is not the result of a closed system of power, nor an idea that falls back on passive material but the name of the ensemble \n"+ "of sexual-political mechanisms (from medicine through pornography to family institutions) to be re-appropriated by sexual minorities. The body is not simply \n"+ "a passive piece of information on which bio-power acts, but rather power itself that makes possible the prosthetic incorporation of gender. Sexual politics \n"+ "are not only becoming a source of power, but are grounds for creation where feminist, homosexual, transsexual, intersexual, transgender, chicanas, and post-colonial \n"+ "movements juxtapose and succeed one another. Sexual minorities become multitudes. The sexual monster named multitude becomes queer.
\n"+ "The body of the queer multitude appears at the center of a process which I call, to borrow from a Deleuzian expression, the “deterritorialization” \n"+ "of heterosexuality. A deterritorialization which affects urban space [it's necessary to speak of the deterritorialisation of the spatial majority and not the ghetto] \n"+ "and corporeal space. The process of the body's deterritorialization requires us to the resist processes of normalisation. That there are precise technologies \n"+ "of production of normal bodies or the normalisation of genders is not manifested by a determinism or by an impossibility of political action. On the contrary. \n"+ "Because the queer multitude carries in itself, as a failure or residue, the history of body-normalisation technologies, it also possesses the possibility \n"+ "to intervene in biotechnological mechanisms that produce sexual subjectivity.
This is believable as long as two conceptual and political traps, two readings \n"+ "(unfortunate but possible) of Foucault are avoided. It is necessary to avoid the segregation of political space which would place queer multitudes in a transgressive \n"+ "margin or reservoir. It’s imperative not to fall into the trap of a liberal or neo-conservative interpretation of Foucault, which would lead to thinking \n"+ "of the queer multitude in contrast with strategies for identification, in taking the multitude for a group of sovereign beings, equal before the law, sexually \n"+ "unwavering, owners of their own bodies, and revindicating their rights to inalienable pleasure.
\n"+ "The liberal interpretation aims at appropriating political power for the abnormals in a perspective of progress; the second ignores the privileges of the majority \n"+ "and of heterosexual normality which does not recognize itself as a dominant identity. That said, bodies are not docile. “Dis-identification” \n"+ "[to reference a formulation by De Lauretis], strategic identifications, a hijacking of body-related technologies and the de-ontologization of the subject of sexual \n"+ "politics, such are just a few political strategies of the queer multitudes.
\n"+ "+ Beatriz Preciado is a philosopher and author of the Contra-sexual Manifesto \n"+
" - translated into Italian, Spanish, German, and soon to be available Basque and Serbo-Croat. She is a researcher at Princeton University and \n"+
"teaches at the Université de Paris VIII. She heads the research and artistic production of Gender Technologies at the MACBA (Museum for Contemporary Art, Barcelona). \n"+
"She is a member of the Multitudes editing committee.
+ www.horit.com
\n"+
"
A novel roaring echo has been scattering over the virtual rhizomatic terrain in the last year -- FREECOOPERATION. \n"+ "A voice calling for the gathering of the'lost tribes', avowed in an urgent utopian proposition on the edge of global social and cultural abyss.
\n"+ "
The call was welcomed globally with exuberance by all.
In the so-called Center, in the Outposts, and in the Peripheries, most of humanity \n"+
"experienced an accelerated cognitive exigency as a response to the visual samplings and reproductions of the 9/11 event. Two and a half years have passed, and by \n"+
"now the public space is under occupation. While the Center is regulated by law and order forces, the periphery is controlled by armies. During Manhattan’s \n"+
"March 20th demonstration against the war in Iraq, the forces of law and order fragmented the demonstrators by enclosing them in separate street blocks. In \n"+
"the occupied lands, throughout the globe, the public space is blocked by a net of checkpoints.
Anxiety and fear, incited by different modes of terror, bring forth a static, binary, conflicting reality, held hostage by political leaders and resulting \n"+
"in paralysis, complacency and the abandonment of public space. The voided space then forcefully collapses into the grids of neo-liberalism, a prevailing ideology \n"+
"under which human dignity is being corrupted.
The abject state of existence inflicts reciprocatory acts of futile terror, \n"+
"where the multitudes are the victims of senseless oppression. However, one may never forget that there is no symmetry between those who inhabit the Center \n"+
"and those who roam the Periphery. A terrorized civil space, a quasi war zone, posits the virtual as a civil Agora. It is here, in the virtual, that equality \n"+
"prevails for all who possess access. The virtual is an affordable 'New Zion' for the chosen ones who mostly reside in the privileged Center. This grazing \n"+
"land is not a futuristic idea but a material reality. The encompassed space produces the conditions for cooperation, contemplation, free exchange of ideas, \n"+
"artistic production and other possibilities, among them that of internal exile.
\n"+
"Furthermore, the advanced technological means of industrial production engenders a displacement in the traditional relationship between art/cultural producers \n"+
"and the social means of production. This paradigm shift endows cultural producers with a non- alienated working perspective: creating within the means of production, \n"+
"abolishing the artistic speculative exchange value and producing works with a social use value tag.
The horizon for cultural works carrying a use value in a FREECOOPERATION context is wide open. However, engaging in such an endeavor demands a commitment to \n"+
"human/political involvement, in contrast to the prevalent commercial engagement in non-social or seemingly social digital works, whether collaborative or individual.
\n"+
"Cultural production in search of use value is folded in the social/political \n"+
"domain, as is attempted in my work, http://www.horit.com//machsomwatch.htm
The land of the occupied West Bank is injured by hundreds of checkpoints.
\n"+
"The system of intervention in the Palestinian public space is all-pervasive. It is designed to harass and humiliate the Palestinians in order to make them \n"+
"relent on their struggle against the occupation. Rather than fighting terror, this network of checkpoints actually encourages it, in that it turns human beings \n"+
"into helpless objects of oppression and drives them to the point of total despair. These military transit barriers are transparent, non-existent, for Jewish-Israeli \n"+
"settlers living in the same territories. The inhuman intervention in the daily existence of the Palestinians impelled the formation of a non-hierarchical collaborative \n"+
"group of Israeli women from all walks of life and all ages. While the majority of Israeli citizens are complacent, the MachsomWatch (checkpoint watch) group \n"+
"monitors and intervenes on behalf of the Palestinians at the checkpoints, at regular time intervals. Devoid of any specific political association, the women \n"+
"write detailed reports and testimonies, and post them on a collaborative online list, thus creating an archive for the future.
What is the bodily, material witnessing function of this collaboration?
\n"+
"Each woman in the collaboration carries her own personal views and their collaboration as a group is based on the principle of unanimous consent. Therefore, the group \n"+
"is not committed to any specific political ideology. Thus, while clearly opposing the oppressive Israeli government with its cruel treatment of the Palestinians, \n"+
"the group has not committed itself to any political position with regard to Israel’s occupation of the Palestinian territories. However, as events \n"+
"unfold, the women's intervention at the checkpoints on behalf of the Palestinians intensify, in negotiations with the Israeli soldiers. In numerous cases attempts \n"+
"are made at preventing live bullets from shooting Palestinians kids who are throwing stones on Israeli soldiers, the Qalandia Checkpoint near Jerusalem \n"+
"being an example. The bodily, risky and brave engagement at the checkpoints, and the active live collaboration in the virtual, form a model that may proliferate \n"+
"to other stressed public spaces as well.
All art production in a neo-liberal economy, whether it is dissenting, engaged, \n"+
"political, social, a commentary etc., once packed as objects and inserted in designated luxurious spaces defined as art contexts, reverses the creative intention. \n"+
"On the other hand, detouring around the structures of the art fields, metamorphosing into the virtual and engaging in the public space in the form of political and \n"+
"social art might result in a challenge to the prevailing concept of 'What Is Art' in the political era of the hostile public space.
\n"+
"Still, one may always remember the privileged position of the cultural producers in the Center and the Outposts, the privilege of inclusion, in sharp contrast \n"+
"to those in the Periphery who are excluded even from this assessment.
+ Horit Herman Peled is a media artist, activist and educator. Her work deals with the Israeli occupation of Palestinian territories and with life under \n"+
"a 'state of exception.' Her video, Violin Player at the Checkpoint - generated a world-wide debate over the morality of checkpoints and of the occupation itself.