Speirs + Major hat die Website überarbeitet. Sehr gelungen und sehenswert. Eine der sehr interessanten Rubriken is „Thinking“. Dort finden sich verschiedene Beiträge zu Nachhaltigkeit, Dunkelheit und Gesundheit. Claudia Clements denkt über die Beziehung von Licht und Musik nach: „Es gibt eine eindeutige Beziehung zwischen der Kunst der Musik und der Erscheinung von Licht. Musik und Licht besitzen eine emotionale Qualität. Diese subjektive emotionale Wirkung lässt sich in musikalischen Noten oder in einer leuchtenden Komposition darstellen“, schreibt sie. Mehr>
Speirs + Major has relaunched the Website. Congratulation! One of the very interesting parts of this website is the topic „Thinking“. There are some posts on sustainabilty, darkness and health. Claudia Clements thinks about the relationship between Light and Music: „There is a clear relationship between the art of music and the manifestation of light. Music and light possess an ‘emotional quality’. The subjective emotional response takes as its object the musical notation or lit composition,“ she writes. More>
Kategorie: International News
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Speirs + Major Website: Licht und MusikSpeirs + Major Website: Light and Music
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Deadline 14. September: Urban Intervention AwardDeadline: September 14th: Urban Intervention Award
Die Senatsverwaltung für Stadtentwicklung Berlin lobt den ersten europaweiten Urban Intervention Award 2010 aus und fordert zur Teilnahme auf. Ziel des Urban Intervention Award ist es, maßgeblich zur Verbesserung der Lebensqualität im urbanen Umfeld beizutragen. Dazu gehören beispielsweise auch Licht-Installationen, die Orte und Plätze temporär inszenieren und ihnen neue Qualitäten verleihen wie beispielweise während der Luminale immer wieder prakiziert. Die Bewerbungsfrist endet am 14. September. Mehr>The City of Berlin offers the first European-wide Urban intervention Award in 2010 and requests projects. The purpose of the Urban Intervention Award is to contribute decisively to the improvement of the quality of life in the urban sphere. Also light installations, for instance, which relaunch places temporarily like Luminale, are possible projects for the prize. The competition ends on the 14th of September. More>
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Susa Pop: Interview Media Facades Festival Europe 2010Susa Pop: Interview Media Facades Festival Europe 2010
Am 27. August hat das Media Facades Festival Europe 2010 Premiere. Luminapolis sprach mit der künstlerischen Leiterin Susa Pop, die sich seit Jahren mit dem Thema Medienfassaden, digitaler Kultur und öffentlichem Raum beschäftigt. Das Festival verbindet sieben europäische Metropolen miteinander, in denen jeweils Projekte unter dem gemeinsamen Dach vernetzt werden. Mehr zum Programm des Festivals hier>
Luminapolis: Susa Pop, you are artistic director of the Media Facades Festival Europa 2010. Who are the others? It is a trans european cooperation of several institutions.
Susa Pop: I initiated the Media Facades Festival Europe 2010 (MFF2010) together with Mirjam Struppek / Interactionfield as a follow-up project of the Media Facades Festival Berlin 2008 (MFF2008) where we explored the cultural and communicative potential of mainly commercially used urban screens. We invited 24 Berlin based artists and media designers to develop site-specific screening projects with the possibility of social participation. Based on this experience of MFF2008 and on the fact that most public screens are operated by internet-based technologies, we developed the idea of interconnecting seven European metropoles with the medium of urban screens. We are collaborating with new media experienced institutions and curators like Stefan Mittleboeck / Ars Electronica Futurelab, Marie-Laure Delaby from iMAL / Brussels, Heather Corcoran from FACT/ Liverpool, Minna Tarkka from m-cult / Helsinki, Nerea Calvillo from Medialab-Prado / Madrid and Eszter Bircsák from Kitchen Budapest. In a collaborative process we selected the artists’ projects which will be presented in Joint Broadcasting Events from 27 August to 2 October 2010.
Luminapolis: What kind of art do you present at the festival and what are the main topics? Street art and Urban Intervention are the keywords for new art initiatives for the public space.
Susa Pop: We have been developing main curatorial topics with a special focus on the following themes:
• Connected Cities: Joint Broadcasting projects that happen simultaneously and interactively across the borders
• Urban Activism: Reclaim the Screens! An activist approach to opening screens for the urban community
• Human Screens: Human processes are visualised on media facades
• Organic Cities: Public Data projects use information resources from the environments and develop a real-time software programme for live streaming
• Public Playing: Games designed as an interaction catalyst for the public audience
• European Dialogue: Projects that especially support intercultural exchange and connect the local scenes through the media facades infrastructure of the participating cities
• Citizens Journalism: Research and participatory projects of local scenes
• Recontextualise: A shared video platform on a central server to create local screening programmes
Luminapolis: What are the places in Europa where the festival activities take place?
Susa Pop: MFF 2010 is a pilot project of interconnecting 7 European metropoles with the medium of urban screens and media facades. The Joint Broadcasting Events will take place in Berlin, Budapest, Brussels, Helsinki, Liverpool, Madrid and Linz. Some of the participating institutions temporarily display screening and interactive projects on the existing infrastructure of urban screens and media facades in the cities – like Helsinki, Berlin, Budapest, Brussels. The other institutions are running their own media facade like Medialab-Prado Madrid, Ars Electronica Center in Linz and FACT in Liverpool which develop more socially and ecologically sustainable programmes. The joint Broadcasting Events will take place during the weekends and are presented in local frameworks like Long Night of Museums, White Nights / Nuits Blanche etc.
Luminapolis: Which technologies the artists use to create their messages?
Susa Pop:For the interactive projects, they use mobile devices like mobile phones and especially developed digital interfaces like the SMSlingshot by VR/Urban. The public playing projects are based on motion-tracking camera systems. Then there are also Public Data projects with especially developed software to visualise the environmental and social processes.
Luminapolis: And what is the perspective of media facades. When becomes the movie Blade Runner reality?
Susa Pop: Media Facades and Screens are a new communication medium at the interface of the public space and the digital worlds. Our main idea and goal is to reclaim the screens for the public audience and contribute to a sustainable urban media development in our cities. In my opinion urban screens and media facades have a high potential of community building and regeneration of the public space. They can open digital stages for the public audiences, visualise social processes and interconnect local scenes of other cities.
On August 27th the Media Facades Festival Europe will have its première. Luminapolis made an interview with Susa Pop, artistic director. She explores the interferences between media facades, digital culture and public space since years. The festival will connect seven European metropoles with their site-specific projects under the common roof of the festival. The programme you find here>
Luminapolis: Susa Pop, you are artistic director of the Media Facades Festival Europa 2010. Who are the others? It is a trans european cooperation of several institutions.
Susa Pop: I initiated the Media Facades Festival Europe 2010 (MFF2010) together with Mirjam Struppek / Interactionfield as a follow-up project of the Media Facades Festival Berlin 2008 (MFF2008) where we explored the cultural and communicative potential of mainly commercially used urban screens. We invited 24 Berlin based artists and media designers to develop site-specific screening projects with the possibility of social participation. Based on this experience of MFF2008 and on the fact that most public screens are operated by internet-based technologies, we developed the idea of interconnecting seven European metropoles with the medium of urban screens. We are collaborating with new media experienced institutions and curators like Stefan Mittleboeck / Ars Electronica Futurelab, Marie-Laure Delaby from iMAL / Brussels, Heather Corcoran from FACT/ Liverpool, Minna Tarkka from m-cult / Helsinki, Nerea Calvillo from Medialab-Prado / Madrid and Eszter Bircsák from Kitchen Budapest. In a collaborative process we selected the artists’ projects which will be presented in Joint Broadcasting Events from 27 August to 2 October 2010.
Luminapolis: What kind of art do you present at the festival and what are the main topics? Street art and Urban Intervention are the keywords for new art initiatives for the public space.
Susa Pop: We have been developing main curatorial topics with a special focus on the following themes:
• Connected Cities: Joint Broadcasting projects that happen simultaneously and interactively across the borders
• Urban Activism: Reclaim the Screens! An activist approach to opening screens for the urban community
• Human Screens: Human processes are visualised on media facades
• Organic Cities: Public Data projects use information resources from the environments and develop a real-time software programme for live streaming
• Public Playing: Games designed as an interaction catalyst for the public audience
• European Dialogue: Projects that especially support intercultural exchange and connect the local scenes through the media facades infrastructure of the participating cities
• Citizens Journalism: Research and participatory projects of local scenes
• Recontextualise: A shared video platform on a central server to create local screening programmes
Luminapolis: What are the places in Europa where the festival activities take place?
Susa Pop: MFF 2010 is a pilot project of interconnecting 7 European metropoles with the medium of urban screens and media facades. The Joint Broadcasting Events will take place in Berlin, Budapest, Brussels, Helsinki, Liverpool, Madrid and Linz. Some of the participating institutions temporarily display screening and interactive projects on the existing infrastructure of urban screens and media facades in the cities – like Helsinki, Berlin, Budapest, Brussels. The other institutions are running their own media facade like Medialab-Prado Madrid, Ars Electronica Center in Linz and FACT in Liverpool which develop more socially and ecologically sustainable programmes. The joint Broadcasting Events will take place during the weekends and are presented in local frameworks like Long Night of Museums, White Nights / Nuits Blanche etc.
Luminapolis: Which technologies the artists use to create their messages?
Susa Pop:For the interactive projects, they use mobile devices like mobile phones and especially developed digital interfaces like the SMSlingshot by VR/Urban. The public playing projects are based on motion-tracking camera systems. Then there are also Public Data projects with especially developed software to visualise the environmental and social processes.
Luminapolis: And what is the perspective of media facades. When becomes the movie Blade Runner reality?
Susa Pop: Media Facades and Screens are a new communication medium at the interface of the public space and the digital worlds. Our main idea and goal is to reclaim the screens for the public audience and contribute to a sustainable urban media development in our cities. In my opinion urban screens and media facades have a high potential of community building and regeneration of the public space. They can open digital stages for the public audiences, visualise social processes and interconnect local scenes of other cities.
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Deutscher Lichtdesign-Preis: Anmeldefrist 30.09.2010German Lighting Design Award: Deadline, September 30th
Der Deutsche Lichtdesign-Preis wird jährlich vergeben. In zehn Kategorien werden von einer hochkarätigen Jury die Gewinner ermittelt – und das nicht nur durch eine Fotojurierung, sondern durch einen Besuch vor Ort, bei dem sich die Fachleute selbst ein Bild der Lichtwirkung machen. Die Bewerbungen können von Planern oder Bauherren eingereicht werden, möglich sind Einreichungen aus Deutschland, Österreich der Schweiz und den BeNeLux-Ländern. Mehr>
The German Lighting Design Prize will be awarded yearly. In ten categories the winners are determined by a high qualified jury. The applications can be submitted by planners or building-owners, submissions from Germany, Austria of Switzerland and the Benelux Countries are possible. More (only in German) >
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Francois Roche in Venedig: ‚The Building which never dies‘Francois Roche in Venice: ‚The Building which never dies‘
Architektur-Biennale in Venedig: Francois Roche stellt im Arsenale Teile der Konzeptstudie ‚The building which never dies‘ vor – ein nächtliches Observatorium, das sich um die eigene Achse dreht. Das Labor ist auf den Mond ausgerichtet, wenn dieser über dem Horizont steht, um das mindestens 1 Lux starke Mondlicht zu nutzen und sogar noch zu verstärken. Die Ergebnisse aus der Studie zum Projekt von ‚The building which never dies‘ dienten Francois Roche als Inspiration zur Entwicklung eines Masterpieces für Zumtobel (Sponsor). Phosphoreszierende Materialien liefern Informationen über die Aktivität der Sonne, über den Grad ihrer Gefährlichkeit. Das Nachleuchten der Komponenten fungiert als Detektor, als architektonischer Marker für die Mutation unserer Umwelt; es bildet das Auftreten von UV-Strahlungskrankheiten beim Menschen ab. Während der Biennale wird das Masterpiece erstmalig der Öffentlichkeit vorgestellt. Mehr>
Biennial of Architecture in Venice: At the Arsenale Francois Roche is presenting parts of his concept study ‚The building which never dies‘ – a nocturnal observatory pivoting on itself. This laboratory is aimed at the moon when it is above the horizon, to take advantage of moonlight (never less than 1 lux) and even amplify it. Francois Roche has used the findings from the project study on ‚The building which never dies‘ as an inspiration for developing a masterpiece for Zumtobel (sponsor). Phosphorescent components provide information on solar activity, its degree of dangerousness. The components‘ afterglow acts as a detector, an architectural marker of the mutation of our environment, and reflects the occurrence of UV-related human pathologies. At the Biennale, the masterpiece is presented to the public for the first time. More>
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Im Zeichen des Präfix Re: Ars Electronica 2010The Age of the Prefix Re: Ars Electronica 2010
Re-think, Re-invent, Re-launch, Re-pair, Re-act, Re-novation, Re-generation, Re-volution, Re-cycle, Re-start, Re-naissance, die diesjährige Ars Electronica, das Festival für Art und Technologie in Linz, steht ganz im Zeichen der Vorsilbe Re.
„Die Zeit des Warnens ist vorüber“, heißt es im Konzept, „Points of no Return sind überschritten und die Dramatik der Auswirkungen ist klar erkennbar. Unerklärlich daher unsere Lethargie, zumal Ideen, Werkzeuge und Techniken für den Kurswechsel vorhanden sind. Wir müssen einfach nur handeln. Die Ärmel hochkrempeln und in Angriff nehmen, woran sowieso kein Weg vorbeiführt. Wir müssen uns ändern und mit der Reparatur beginnen.“
Und „it’s to late to be a pessimist“, zitieren die Festival-Macher Yann Arthus Bertrand. Um „Repair“ soll es gehen beim weltweit wichtigsten Art&Technology-Festival. Das Programm ist umfangreicher denn je. Im Futurlab steht u.a. das Thema Medien und Architektur auf dem Programm.
Während der Luminale in Frankfurt bildete der Media Facade Summit in diesem Jahr den Auftakt für das Nachdenken darüber, wie Architektur und Medien, Medien und Licht miteinander neue Verbindungen eingehen und den öffentlichen Raum grundlegend verändern. Die Ars Electronica bietet jetzt ein eigenes Futurelab zum Thema an. Das Media Facades Festival läuft augenblicklich in sieben europäischen Metropolen und im Oktober findet die Media Architectur Biennale statt. Mehr zur Ars Electronica hier>
Buch-Tipp: Media Facades >Re-think, Re-invent, Re-launch, Re-pair, Re-act, Re-novation, Re-generation, Re-volution, Re-cycle, Re-set, Re-naissance, this year’s Ars Electronica, the festival for art and technology in Linz stands completely in the sign of the prefix Re.
„There’s no time left for warnings. We’re in it up to our necks right now—in the climate crisis, Surveillance Society, the bankruptcy of the financial sector … We’ve passed the points of no return. The dramatic consequences are looming on the horizon today. And there’s no excuse for our lethargy since we already possess ideas, tools and techniques to initiate a change of course. We just have to take action! Roll up our sleeves and get to work on a job that can no longer be avoided. We have to mend our ways and get things moving in the right direction,“ the festival-makers have explained the concept of the festival edition 2010.
And „it’s to late to be a pessimist“, they quoted Yann Arthus Betrand. the main topic is „Repair“ with the worldwide most important festival Art&Technology festival. The program is more extensive than ever. In the Futurlab stands among others the subject Media and Architektur on teh agenda.
This year during the Luminale in Frankfurt the Media Facade Summit formed the prelude for the reflection about that, how architecture and media, media and light allow new connections with each other and change the public space basically. Now the Ars Electronica offers its own Futurelab on the subject. The Media Facades Festival is running presently in seven European metropolises and in October the Media Architecture Bienniale takes place in Vienna. More about the Ars Electronica here>
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Biennale di Venezia: Sehnsucht, ist das Lied der Deutschen Bienniale di Venezia: Sehnsucht, the very German Song
‚Sehnsucht‘ ist das Thema des Deutschen Pavillon auf der Architektur-Biennale in Venedig, die an diesem Wochenende (29.08.) ihre Pforten öffnet. Der Neon-Schriftzug (Photo) hängt über dem Eingangsportal. Jakobine Meyer (Berlin) hat die Neon-Plastik zum Thema beigetragen. Siegrun Appelt (Wien), die auch vor zwei Jahren im Biennale-Team von Raumtaktik dabei war, hat an dem Biennale-Konzept für 2010 (Kommissarin Cordula Rau u.a.) mitgearbeitet. Zumtobel ist einer der Sponsoren wie auch schon 2008. Seinerzeit stand der deutsche Beitrag im Zeichen der ökologischen Erneuerung. 2010 wird unter dem Stichwort ‚Sehnsucht‘ der geistesgeschichtliche Kontext der Romantik und der sehr deutsche Traum vom Gesamtkunstwerk sicherlich wieder kontrovers diskutiert werden. Mehr>
Erste Impressionen von der Architektur-Biennale bringt der art-magazin-blog von Till Briegleb. Mehr>
Zumtobels Engagement auf der Architektur-Biennale von Venedig>
Foscarinis Engagement auf der Architektur-Biennale von Venedig>
‚Sehnsucht‘ is the subject of the German Pavilion on the Bienniale di Venezia, on this week-end (29.08.) will open the gates. The neon letters (photo) are hanging above the entrance portal. Jakobine Meyer (Berlin) has contributed the neon plastic on the subject. Siegrun Appelt (Vienna) which have been present also two years ago in the team of Raumtaktik has cooperated in concept for 2010 (commissioner Cordula Rau a.o.). Zumtobel is one of the sponsors as well as already in 2008. At that time the German Pavilion stood in the sign of the ecological re-thinking of architecture. In 2010 the historical context of the Romanticism and the very German dream of the ‚Gesamtkunstwerk‘ will be discussed under the keyword ‚Sehnsucht‘ controversially again. More>
The art magazine blog of Till Briegleb presents the first impressions of the Architecture Biennial. More>
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LightSpec – Das neue digitale Magazin von Philips Lighting TechnologyLightSpec – The new digital Magazine of Philips Lighting Technology
Das Thema LED nimmt im neuen digitalen Magazin LightSpec breiten Raum ein. Ist die LED Technologie so weit entwickelt, dass sie für die allgemeine Beleuchtung in Frage kommt? Dazu nehmen nicht nur Philips-Experten Stellung sondern auch andere Hersteller wie Louis Poulsen, Fagerhult oder Zumtobel. Mehr>
Book Tip: Light & Emotions – 47 Conversations with Lighting Designers
LED is the main topic of the new digital magazine LightSpec. Is LED ready for general lighting? That’s the leading question not just for Philips experts. Interviews with Louis Poulsen, Fagerhult or Zumtobel gives a panoramatic view on the new technologies. More>
Buch Tipp: Light & Emotions – 47 Conversations with Lighting Designers
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Neue Website für Lichtkunst aus ItalienNew Website for Light Art from Italy
Gisella Gellini und ihr Team haben die Premiere von Luces – Light art from Italy im Archäologischen Museum Frankfurt im Rahmen der Luminale 2010 dazu genutzt, der Lichtkunst aus Italien ein eigenses Forum zu geben. Die Website Luces informtiert über die Frankfurter Projekte. Mehr>
Gisella Gellini and her team have used the première of Luces – Light art from Italy in the Archaeological Museum of Frankfurt during Luminale 2010 to launch a new forum for the light artists from Italy. The website Luces informs on the Frankfurt projects of the italian participants of Luminale. More>
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Cinimod Studio: Interaktive RFID ProjektionenCinimod Studio: Interaktiv RFID Projections
Cinimod Studio hat ein neues Tracking System für Events und Partys entwickelt. Zum ersten Mal kam es bei der Verleihung des Restaurant and Bar Design Awards 2010 in London zum Einsatz. Es basiert auf der RFID (Radio Frequency Identification) Technologie und kann Besucher und Gäste identifizieren. Die Projektion reagiert auf die Bewegung von Personen im Raum. Wenn sie sich einem bestimmten Punkt nähern, wird die für diesen Fall vorgesehene vorgesehene Projektion gestartet. Mehr>
Cinimod Studio have developed a new active user tracking system suitable for large events and parties. This was first deployed at the Restaurant and Bar Design Awards 2010 event. At this awards event, RFID (Radio Frequency Identification) technology was used to identify visitors on the two ‘networking pods’ during the evening’s proceedings. The interactive projections displayed the projects of nearby shortlisted visitors. As they moved closer to the centre of the ‘pod’, their name rose higher on the list. Once a visitor was determined to be closest to the centre of the pod their project details and credentials appeared on the panoramic projection screens. More>