:: Monday, November 29, 2004 ::
ORIGINAL POST: Friday, November 26, 2004
BY: Ana Boa-Ventura
I was just home, in Lisbon, to speak at the Numero Festival 2004 --"GAZING AT …. LISBON'S CITYSCAPE: NEW MEDIA: FRONTIERS AND STRATEGIES"
I saw myself in the strange situation of representing the US in my own country :). Eric Sadin (Tokyo Reengineering) was the other international presence. Initially scheduled to speak, Peppino Ortoleva (Italy) and Gerfried Stocker (Austria) had to miss the event, for different reasons. We had Gerfried by videoconference though. Among the other Portuguese speakers, I would like to stress Miguel Leal's presentation about artists and institutions working in Portugal.
My main conclusion is that there is a lot to do in Portugal, in the field of new media. Portugal suffers from an undesirable side-effect of living in a small democratic country: when there is a change of direction (which occurs constantly) - and Director bodies - in entities such as the Ministry of Culture and the Ministry of Science and Technology, it directly affects the definition of policies of support for the arts. Our government (which funds most of the national cultural and artistic endeavors) still has to define a clear policy in this field... one that may inform universities and institutions alike of strategies and approaches to take.
A lot is happening though even in the absence of consistent governmental support. What is taking place in Portugal right now is of top quality - check out www.virose.pt (that I will be talking about later) to see what I mean.
ORIGINAL POST: Sunday, November 21, 2004
BY: Daniele Balit
Samuel Bianchini has just discussed his PHD thesis at the Palais de Tokyo in Paris, a location that allowed him to present at the same time a selection of his artistic works related to the themes he dealt with theoretically in his thesis. A critique of interactive images is the main subject of his research. “Temps libre” is an example of how the spectator is asked to play an active role, almost dictatorial, in the functioning of the work: a quiet video of a sea landscape is thus disturbed by our voice (through a loudspeaker) that activates a series of small energetic golf players. The more we speak loudly and fast the more the players become energetic, until they reach a nonsensical frenzy completely in opposition to the calmness of the initial scene.