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    19 views6 pages

    cITyZKM IMAA PDF

    Uploaded by

    philip jackson pocock

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    © All Rights Reserved
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    00 00 0 00 1 00 2 00 3 00 4 o10 on oz 141 \\internationaler medien\kunstpreis 2000 Vorwort Hauptpreise Jurybegriindung Jonathan Hodgson Chris Darke, Unterwegs auf einer Linie, Die animierte Reise des Jonathan Hodgson Hans Varghese Mathews, Jonathan Hodgsons FEELING MY WAY Oliver Whitehead Andreas Brosckmann, Schweifende Blicke Uber Oliver Whiteheads Video mind's eye Tina Erkintalo, Narratives Zwischenspiol ~ Filme und Videoarbeiten von Oliver Whitehead Caryn Faure Walker: Statisches Bild in Bewagung ~ Ein Gesprach mit Oliver Whitehead Knowbotic Research Andreas Broeckmann, Wirksamkeit und konnektives Handeln. Zu den transiokalen Konstruktionen von Knowbotic Research + oF Knowbotic Research und Wilfried Prantner, Urbanes Handlungspotential - Schnittstellen entflammbar machen: 6ffentlicher Zugang, exzessive Manifestationen, konnektive Konfrontationen und taktische Ruickztige Sonderpreis Gruppo A12 ‘Marko Peljhan Lobende Erwahnungen Dan Boord/Luis Valdovino Delibriigge & de Moll Jean-Francois Guiton Olivera Milos-Todorovie MVRDV Philip Pocock and @thers Corinna Schnitt Mika Taanila Nominierungen, Dokumentation Einsendungen Sendetermine Wettbewerbsbedingungen Werkverzeichnis und Biografien der Preistraiger Biografion der Autoren Impressum Foreword After seven successful rounds of the Interna- tional Award for Video Art, we now present a new concept under the title of the Winternational medialart award. With this unmistakable signal in favour of interactivity and network communications, Sidwestrundfunk (SWR) and 2KM | Center for Art and Media Karlsruhe are responding to current developments in the media art scene. For the first time, the compe- tition is dedicated to a single theme, with the ‘chosen subject for 2000 being ‘ciTy/urbanism ‘A new generation of architects and media artists has now begun to conquer these virtual urban realms and develop associated projects Electronic tools are now being used to shape the city. From computer simulations of historical buildings and urban spaces such as the academic mall or virtual university to platforms for e-commerce ~ the shifting emphasis has brought about a radical alteration in the way we view citios and towns. From the Renaissance onward, artists have been addressing the rapidly changing local, regional, national or global aspects of urban space; one need think only of the citta ideale. However, our notion of urbanism is not restric ted to the fields of planning and architecture, but encompasses the far-reaching artistic issues regarding all conceivable relations be- tween humans, home, metropolis and the phenomenon that can be described, somewhat self-consciously, with neoligisms like ‘electro- Polis’ or ‘telepolis’ ~ namely, human co- existence in the age of electronic telemedia Media artists from 38 different countries ex- amined the various facets of urbanism. Despite the stipulation of a specific theme, the response to the call for entries was unexpectedly large. 702 submissions were received in total; the 50 shortlisted works and the prizewinners testify to the impressive overall standard. ‘Specialists like architects and media artists are not the only critical observers of the linkage of architecture, media art and urbanism. Indeed, the questions raised are at the core of contem- porary social discourse. The acute relevance of the topic was an important factor in winning the interest of renowned sponsors such as 005 005 ‘Smart and the L-Bank. Thanks to the funding they provided, it was possible to give the sub- ject a sustained media-based and local presence at ZKM in the form of the exhibition ‘clTy - Data on the City under Information Technology Conditions’. We convey our warmest thanks {for this support, In 2000, the entire archive of the awards for video and media art is being placed on the Net. Together with excerpts of their work, the 400 artists nominated for awards since 1992 are being presented in German and English at the address www.medionkunstpreis.de. In this way, the two cultural institutions ZkM and ‘SWR now document the media-art collection built up in the course of a competition history spanning almost ten years. Prof. Peter Weibel (Chairman of ZKM) Dr. Christof Schmid (TV Controller, SWR) 10 10 10 10 110 10 110 00 3 00 3 Philip Pocock and Others TRAVEL-AS-ART - A Trilogy: H|U|M|BjO|T DICDN/YVIEAU, 1995-2000, Internet/Installation Musik/Music: Estrellas de Areito ~ Los Heroes ,,Pongase Para Las Cosas” H|UMIB|OIT — a project of Daniel Burckhardt, Roberto Cabot, Elena Carmagnani gruppo A12, Udo Noll, Philip Pocock, Florian Wenz. http://www.humbot.org parole ~ a project of gruppo A12, Udo Noll. http: ‘/Iking.dom.de/parole La Folie ~ space: gruppo A12. web-site: Udo Noll http://king.dom.devillamedici/ hetp://www.humbot.org Die mit einer lobenden Erwahnung ausgezeich- nete Travel-as-Art:a Trilogy: HIUJMIB|O\T scheint an mich 2u gehen, aber sie geht durch mich, durch eine Einzelinitiative, an eine wother-urb” aus Architokten und ,,Datatekten”, Kunstlern, Autoren, Reisenden, Fremden, Hackern und Usern, die on- und offline tiber fiinf Jahre lang mit mir, oder wie Ali sagen wiirden, MeWel, zusammengearbeitet haben. Travel-as-Art: a Trilogy verbindet meine Reise durch drei ,hyperkinematografische” Orte an der Freestyle-Peripherie der Notzkultur: Meine kollaborative Reise beginnt 1995 mit Arctic Circle und Felix Stephan Huber auf Wolfgang Staohles Server, voliflnrt dann 1996 mit Christoph Keller und Florian Wist einen Loop nach unten zu Tropic of Cancer, durchquert dann, anlasslich der documenta X mit Felix, Florian Wenz, Udo Noll, Gruppo A12, und ande- ren (Others) langsam einen zweiten Ort -A Description of the Equator and Some ather- Jands)~ und kommt schlieBtlich bei meiner Konfi- guration mit Daniel Burckhardt, Elena Car- mangiani, Gruppo A12 und einigen friheren Mitarbeitern in HIUMIB|OI7 an .Bild medien erhalten die ihnen gebiihrende ‘Aufmerksamkeit, wenn sie sich von der Archi tektur lsen und zu Transport{mitteln) werden. Wenn die Umgebung vilig transportabel wird, werden wir feststellen, dass der Transport nicht mehr mit Bewegung verbunden sein wird. Er wird als Konzept dienen. In der Asthetik wird sich die Aufmerksamkeit vom Kunst- gegenstand auf den Rezipienten veriagern.” * 1 Grogory Battcock, The Aasthotics of Boaing, in: Batak Why At, Now York 1977 HU|MIBIOIT, tangentialer Ableger von Arctic Gircle und The Equator und ausgedehnt in die Fléiche einer Kartografie, ist eine fiinfjéhri- ge hypernarrative Zusammenarbeit. Sein Thema’ ist Alexander von Humboldts Relation Historique du Voyage aux régions équinoxiales du Nouveau Continent (1799-1804). * Unter Verwendung eines neuralen Netzwerk- Algorithmus' ,kartografieren” wir das Buch auf dem Bildschirm (FLATBOOK} ,um” (re-map) und verbinden seine Abschnitte gema8 unseren eigenen poetischen Parameter. Im Informa- tionszeitalter werden Informationen Material fiir dio Kunst. Indem wir digitale Videos aus dem zeit- gendssischen und ,cyb-urbanen” Siidamerika (FLATMOVIE) miteinander verflechten, ,be- statten” wir Humboldts Text und erzeugen zu- gleich einen , Tiefenatlas” der Hypermedien, der von unseren Usern ,bereist” wird. Diese »Reisen” kann man als ein weiteres Inter- face betrachten, das einen von einem friiheren Publikum geschnittenen ,Hypermovio" pra- sentiert, eine dynamische, in der Zeit verlaufen- de Montage von Spuren historischer Erzah- lungen, digitaler Videos und User-Reisen. Philip Pocock 2 Das Werk wurde uf franadsisch verosst und liegt nur 0 ‘mentasen in deutscher Ubersetzing vor (4.0) The mention awarded Travel-as-Art: a Trilogy: HUIMIBIOIT appears to go to me, but it goes through me, through solo initiative, to an ‘other-urb’ of architects, artists, authors, iti nerants, strangers, datatects, hackers and users who, on-line and off, have collaborated with me, or as Ali would say MeWel, for more than 5 yoars. Travel-as-Art: a Trilogy connects my journey ‘through three ‘hypercinematic’ sites on the freestyle periphery of net culture, my collabora- tive itinerary including: Felix Stephan Huber for Arctic Circle, 1995, on Wolfgang Staehle’s server, looping down in 1996 to Mexico with Christoph Keller and Florian Wuest for Tropic of Cancer; passing slowly through a second site A Description of the Equator and some Other- Jands again with Felix, Florian as well as Udo Noll, gruppo A12 and @thers for documenta X; arriving at my configuration with Daniel Burckhardt, Elena Carmangiani, gruppo A12, some prior collaborators and others in Hiumia\ol7 “Visual media come into their own when they are set free from architecture and become instead transportation. Ultimately, when the environment becomes totally portable, we shall m find that transportation will no longer involve movement. It will serve as concept. There will be a shift in aesthetics from attention to th art object to attention to the receiver. ' Spinning off at a tangent from Arctic Circle and The Equator and flattening out as a ‘mapping’ is H|U|M|BIO|T a 5-year hypernar- rative collaboration Its ‘topos’ is a book by Alexander von Humboldt Personal Narrative of a Journey to t! Equinoctial Regions of the New Continent (1799-1804). Using a neural network algorithn we ‘remap’ the book on the screen (FLAT- BOOK) associating its paragraphs according t ‘our poetic parameters. In the information age, information becomes material for art. Interweaving digital videos from contempo rary and ‘cyb-urban’ South America (FLAT: MOVIE) we ‘bury’ Humboldt's text and at the same time create a ‘deep atlas’ of hypermedie that is ‘traveled’ by our users. These ‘travels’ are viewable as another interface, presenting a ‘hypermovie' cut by a prior audience, a dyn: mic time-based montage of traces of historic: narrative, digital video and usor travels. Philip Pocock 1 Gregory Battock, The Aesthetics of Boeing, in: Batoack, Why At, New York, 1977 www.medienkunstpreis.de www.zkm.de/city SWR>»> /\

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