Eduardo Kac / From Poetry to Space (In English)

An unusual trajectory discussed here, from his early poetry works to bio art experiments where his dna is implemented into flowers, to space research, minitel works (french own internet version) and their restoration, to artworks visible from google earth. A fascinating iconic artist.

Eduardo Kac / Interview by Luca Forcucci – August 15th 2019 / Berlin-Paris

Eduardo Kac, (born July 3, 1962, Rio de Janeiro, Brazil), Brazilian American artist who was best known for his works featuring genetically altered organisms in ways that frequently had conceptual or symbolic import. He termed these endeavours “bio art” or “transgenic art.”

Kac began staging performance art pieces in Rio de Janeiro as a teenager. He frequented the city’s beaches and, especially, Cinelandia, a square that served as a hub of bohemian activity. There Kac would declaim pornographically inspired poetry, often wearing only a pink miniskirt. During that period he also experimented with other forms of poetry, graffiti, and multimedia art.

Kac began investigating the use of holograms as a medium for poetic expression, and in 1983 he published his first “holopoem,” “Holo/Olho” (“Holo/Eye”), which rendered the words of the title in holographic text that shifted as the viewer changed position. The next year, he debuted a digital poem, “Não!” (“No!”), which comprised a block of text that scrolled across an LED display. Kac created a number of other holopoems and digital poems, some of them more elaborate. He also made his first forays into art transmitted via Minitel, a videotext precursor to the Internet. He received a bachelor of arts degree from the School of Communications at the Pontifical Catholic University of Rio de Janeiro in 1985.

In 1986 Kac debuted what he dubbed a “telepresence” work, a radio-controlled robot that served as a transmission system for conversations between viewers and a remote operator. While at the School of the Art Institute of Chicago (M.F.A., 1990), Kac began a collaborative telepresence work, Ornitorrinco (“Platypus”). It involved the remote manipulation of a robot, first by telephone signal (1989) and eventually through the use of the Internet (1994). In 1996 Kac created another telepresence work, Rara Avis, which consisted of a robotic bird with a camera inside that was positioned in an aviary with live zebra finches. Visitors to the exhibit could don a headset connected to the camera and experience the view inside the aviary. Get unlimited access to all of Britannica’s trusted content. Start Your Free Trial Today

Time Capsule, a combination of performance and conceptual art, was staged in 1997 in São Paulo. The piece centred on the injection into Kac’s leg of a microchip normally used to track pets; he registered himself in the tracking company’s database. That year he became an assistant professor at the School of the Art Institute of Chicago.

Increasingly preoccupied with the corporeal and visceral, Kac in 1998 first suggested the possibility of transgenic art with an article on a theoretical genetically engineered fluorescent dog. Though the creation of a glowing canine was ultimately infeasible, in 1999 Kac debuted Genesis, a work that represented his first foray into actual bio art. He translated a passage from the Christian Bible into Morse Code and then into the four-letter code that represented the base pairs of DNA. He commissioned the creation of synthetic DNA using that sequence, and it was injected into bacteria, images of which were projected onto a gallery wall.

In 2000 Kac premiered what would become his best-known and most-controversial work, GFP Bunny. Again mixing conceptual and performance art, Kac centred the project on a rabbit engineered to express the green fluorescent protein (GFP) from the jellyfish Aequoria victoria. The animal, named Alba by Kac and his family, was seen by the public only in photographs. Though Kac claimed to have commissioned the rabbit, the French National Agronomic Institute (INRA), which owned it, had actually, of its own volition, created multiple rabbits that expressed the protein. GFP was a common tool in cellular research; cells of a certain type could be engineered to express the protein and thus would be more easily visible. And, though Kac promoted images that suggested that the animal glowed a uniform green, in fact only its living tissue glowed green under blue light of a certain wavelength (meaning that its fur would not glow). INRA ultimately refused to give the rabbit to Kac, a turn of events that the artist used to further promote the project through several shows centred on “freeing Alba.” GFP Bunny was, Kac claimed, the provocation of the controversy, rather than the rabbit itself. Debate did indeed ensue; though many questioned the ethics of using genetically modified organisms in art, some applauded the initiation of a dialogue on the subject.

In 2001 Kac exhibited a project that consisted of a collection of transgenic animals contained in an acrylic dome. Two years later he began another transgenic project, which involved the insertion of a sequence of his own DNA into the genes that coded for the veins in a petunia flower. He dubbed the resulting plant—engineered by a botanist at the University of Minnesota—“Edunia” and made it the centre of a new installation, Natural History of the Enigma (2009).

Kac’s various projects toured widely, and he frequently lectured and wrote about the theoretical foundations of his work. Among his publications were the essay collection Telepresence and Bio Art: Networking Humans, Rabbits, & Robots (2005) and the poetry compilation Hodibis Potax (2007). His artist’s book Escracho (1983) became part of the permanent collection of the Museum of Modern Art in New York City. (Richard Pallardy)

Luca De Luigi / Musical director (In Italian)

During is long career as photographer, cameraman first and director then, Luca de Luigi introduces here his view on filming musical events, from the arena of Verona, to Bayreuth with the director Werner Herzog and then a long series of live concerts at the Montreux Jazz festival including Miles Davis, Herbie Hancock among many others.

Luca de Luigi / Interview by Luca Forcucci – July 24th 2019 / Gordevio, Valle Maggia

Artisan video director for music and documentary films. He has created also cultural shows for the Swiss Italian TV RTS , photographer, cameramen, and since 23 years director.

Artigiano regista video musicale e documentario. Ha creato Emissioni Culturali alla RTS Fotografo, Cameraman e da 23 anni Regista.

Jill Scott: Media Arts, Bodies and Perception

In this interview, Jill Scott and I are sitting in a Ethiopian restaurant in Berlin. We learn about her large body of work spanning from performance, video to sonic arts, media arts and neuroscience. How all this could possibly connect ? A series of travels, experiments and encounters informed this important and very inspiring artist, which are embedded into a unique research in art and science.

Jill Scott / Interview by Luca Forcucci – September 1st 2019 / Berlin

Professor Dr. Jill Scott is an artist, teacher and context provider with 40 years experience in the unique transdisciplinary field of art, science and technology interactions. Her research spans neuroscience, electronics, ecology, sociology, sculpture, performative installation and media art. Her artwork is focused on the human body, the social and physical impact of technology on our bodies and the health of our environment. She asks: How does technological and biotechnical “progress” affect way we “see” our body? How can artists raise awareness about the human body and the scientific structure of sensory perception? How can artists shed light on the health affects of our physical environment? To address these questions, she builds interactive media installations that immerse viewers inside designed environments. She explores how visual metaphors and poetic analogies might create an alternative forms of art and science communication to help others learn more about sensory perception and reflect on their own ideological, biological, ecological, gendered and ethical futures.

 www.jillscott.org

Guy Marc Hinant / the artist as curator (in french)

More than 500 references have been issued on the Subrosa label since the 1980’s. Guy Marc Hinant, poet, writer, publisher, music producer and cinematographer together with Fred Walheer, started the label, with recordings of William S. Burroughs. Here he discusses the journey where noise and spectres enter the discussions (literally).

Guy Marc Hinant / Interview by Luca Forcucci – July 17th 2019 / Berlin-Bruxelles

Guy Marc Hinant dirige le label indépendant Sub Rosa spécialisé en musique électronique et expérimentale dont il est le créateur. Il y édite la série An Anthology of Noise and Electronic Music. Il a écrit plusieurs fragments narratifs et notes sur l’esthétique pour les Éditions de l’Heure, diverses revues internationales telles que Leonardo Music Journal (SF), Luna-Park surtout (édité par Marc Dachy à Paris), la revue Pylône (Bruxelles) et pour la revue Lapin (L’Association, Paris). Par ailleurs, il donne des conférences sur l’émergence du bruit dans la musique occidentale – preuves à l’appui. Compagnon de l’auteur de bandes dessinées Dominique Goblet, il apparaît dans ses albums sous le nom de « GM » . Au début des années 1980, il était membre du groupe Pseudo Code avec Alain Neffe et Xavier Ess. En 2001, il fonde OME – L’Observatoire – avec Dominique Lohlé, ensemble ils réalisent une série de documentaires sur l’art de l’écoute et le bruit.

Guy-Marc Hinant (Charleroi, 1960) is a Belgian poet, writer, publisher, music producer and cinematographer. In the late 1980s Hinant, together with Frédéric Walheer, founded the Belgian record label Sub Rosa, which specializes in avant-garde, electronic and noise music. The name of the record label was deduced from the first sentence of Gilles Deleuze’s book Mille plateaux. He lives and works in Brussels. From 2002 to 2004 Hinant worked on the musicological project Anthology of Noise and Electronic Music. Hinant wrote poetry and prose to the works of his lover, the Belgian visual artist Dominique Goblet.

Pamela Z / Sonic gestures extraordinaire (in English)

During an afternoon we sat together under the trees and birdsongs at the SAVVY art space in Berlin, where she was presenting works, for a long, beautiful conversation on sonic gestures, different accents and letter writing.

Pamela Z / Interview by Luca Forcucci – May 24th 2019 / Berlin

Pamela Z is a composer/performer and media artist who works primarily with voice, live electronic processing, sampled sound, and video. A pioneer of live digital looping techniques, she processes her voice in real time to create dense, complex sonic layers. Her solo works combine experimental extended vocal techniques, operatic bel canto, found objects, text, and sampled concrète sounds. She uses MAX MSP and Isadora software on a MacBook Pro along with custom MIDI controllers that allow her to manipulate sound and image with physical gestures. Her performances range in scale from small concerts in galleries to large-scale multi-media works in theaters and concert halls. In addition to her performance work, she has a growing body of inter-media gallery works including multi-channel sound and video installations.

Pamela Z has toured extensively throughout the United States, Europe, and Japan – performing in international festivals including Bang on a Can at Lincoln Center (New York); La Biennale di Venezia (Italy); the Interlink Festival (Japan); Other Minds (San Francisco); and Pina Bausch Tanztheater’s 25 Jahre Fest (Wuppertal, Germany). She has composed, recorded and performed original scores for choreographers and for film/video artists, and has done vocal work for other composers (including Charles Amirkhanian, Vijay Iyer, and Henry Brant). Her large-scale, multi-media performance works, including Memory Trace, Baggage Allowance, Voci, and Gaijin, have been presented at venues like the Kitchen in New York, Yerba Buena Center for the Arts, and Theater Artaud (Z Space) in San Francisco, the Museum of Contemporary Art Theatre in Chicago, as well as at theaters in Washington D.C. and Budapest Hungary. Her one-act opera Wunderkabinet inspired by the Museum of Jurassic Technology (co-composed with Matthew Brubeck) premiered at The LAB Gallery in San Francisco, and was presented at REDCAT in Los Angeles and Open Ears Festival in Canada. She has shown media works in exhibitions at the Whitney Museum of American Art (New York); Erzbischöfliches Diözesanmuseum (Cologne); the Tang Museum (Saratoga Springs NY); the Dakar Biennale (Sénégal); Krannert Art Museum (IL), and the Kitchen (NY).

Ms. Z has had chamber music commissions from Kronos Quartet, the Bang On A Can All Stars; Ethel String Quartet, the California E.A.R. Unit; the Left Coast Chamber Ensemble; the Empyrean Ensemble, and St. Luke’s Chamber Orchestra. She curates and produces “the ROOM Series”, a San Francisco avant-chamber series featuring the work of a variety of virtuosic solo artists and chamber groups playing experimental music. She has collaborated with a wide range of artists including Joan La Barbara, Joan Jeanrenaud, Brenda Way (ODC Dance), Miya Masaoka, Jeanne Finley + John Muse, Shinichi Iova Koga (Inkboat), Christina McPhee, and Luciano Chessa. She has participated in several New Music Theatre events (including John Cage festivals), and has performed with The San Francisco Contemporary Music Players. Her interactive web-based work Baggage Allowance can be viewed at baggageallowance.tv where it is permanently installed.

Potential Realities and Perspectives: Dreams, (Mental) States and (Electronic) Sheep

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The Italian director Federico Fellini’s movies were based on his own dreams, and as part of a Jungian psychotherapy with the psychoanalyst Ernst Bernhard.

In the book Do Androids Dream of Electric Sheep? The American author Philip K. Dick questions realities and perspectives from the machines in a dystopian science fiction novel.

It seems that the (virtual, augmented and mixed) contemporaneous realities are about to join the fiction. The main question for the current talk observes the different typologies of realities, being in dreams, pathological, from machines or computers. This will be explored through the work and research of an artist and a neuroscientist.

Michael Gaebler / Cognitive Neuroscientist

Max Planck Institute for Human Cognitive and Brain Sciences in the Neurology Department’s Mind-Body-Emotion group and the MindBrainBody Institute.

Biography

Michael Gaebler studied cognitive and neurosciences in Osnabrück, Montreal, Paris, and London, before he completed his PhD at the Charité/Humboldt-Universität zu Berlin. In his research at the Max Planck Institute in Leipzig, he investigates how mental processes (i.e., thinking and feeling) are neurophysiologically realized. To this end, he also combines virtual reality with measurements of brain activity.

Abstract

The mind is situated, that is, mental phenomena depend on an organism’s interaction with the environment. I will discuss why virtual reality (VR) can help the cognitive and brain sciences and present own projects, in which we use VR in neuroscientific and clinical investigations. I will also mention previous work with depersonalization-derealization disorder patients, for whom the real world feels unreal or dream-like.

Mert Akbal / Artist and Researcher in Neuroscience

Saarbrücken Art School and Max Planck Institute for Human Cognitive and Brain Sciences in the Neurology Department’s Mind-Body-Emotion group and the MindBrainBody Institute.

Biography

Mert Akbal explores as a cognitive artist phenomena from cognitive science field. He teaches and researches  in two institutions: Academy of Fine Arts Saar in Saarbruecken and Max Planck Institute for Human Cognitive and Brain Sciences in Berlin. His works are presented on diverse platforms such as by ZKM in Karlsruhe, Prix D’Arts Robert Schuman, Kunstmuseum Stuttgart, Kunsverein Ulm, Amber Art and Technology Festival in Istanbul, IEEE in Boston, ISEA 2016 in Hong Kong and ISEA 2018 in Durban.

Abstract

I follow my curiosity to observe, understand and question cognition and consciousness through visual art. I aim to reproduce  dream image and experience in artistic media in order to explore them as models of conscious experience. I will present some of my current works at the intersection of art and science.

Paulo Bruscky / a Legendary Brazilian Artist (in Portuguese)

The works developed by this artist span over 40 years of research and includes important ones proposed as performances, mail art, brainwaves experiments and poetry among others. Paulo Bruscky discusses these during an interview in Recife.

Interview by Luca Forcucci / 22 November 2018 in Recife

Paulo Roberto Barbosa Bruscky (Recife, Pernambuco, 1949). Artista multimídia, poeta. Na década de 1960, inicia pesquisa no campo da arte conceitual, e a partir de 1970 desenvolve pesquisas em arte-xerox. Em 1973, atua no Movimento Internacional de Arte Postal, sendo um dos pioneiros no Brasil nessa arte, e no ano seguinte lança o Manifesto Nadaísta. Organiza duas exposições internacionais de arte postal no Recife nos anos de 1975 e 1976, sendo esta última fechada pelos militares brasileiros. Realiza 30 filmes de artistas e videoarte entre 1979 e 1982, e começa a produzir videoinstalações em 1983. Cria, em 1980, o xerox-filme com base em sequências xerográficas. Com a Bolsa Guggenheim de artes visuais recebida em 1981, reside por um ano em Nova York. Nesse ano, expõe na sala especial sobre arte postal montada na 16ª Bienal Internacional de São Paulo. É editor de livros de artistas e mantém em seu ateliê no Recife importante coleção de livros e documentos sobre arte contemporânea, entre eles correspondência com integrantes dos grupos Fluxus e Gutai. Em 2004, seu ateliê é integralmente transferido do Recife para São Paulo, sendo remontado em uma das oito salas especiais da 26ª Bienal Internacional de São Paulo.

b. 1949, Recife, Brazil | lives and works in Recife, Brazil

Paulo Bruscky’s work reflects a simultaneous engagement with both the Brazilian artist’s local framework of Recife and a global network, which he documents in artist’s books, performative projects, and photographs. Associated with Fluxus, and a key participant in the international mail-art movement, he investigates meaning through action, collage, installation, film, and poetry. Produced during his first trip to New York as part of a Guggenheim Fellowship and in collaboration with Daniel Santiago, Air Art Proposal of Composition of Colored Clouds in the Sky of New York (1982) is one of a series of classified ads published in Brazilian and other newspapers that advocate absurd or impossible situations.

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Jetpack

Jorge Antunes / a musical visionary maestro (in Portuguese)

From his early experiment while studying violin and physics in Rio de Janeiro
to his exil in Argentina, Netherland, Paris and more during the difficult Brazilian period in the1960-1980s, Antunes collected a number of prizes for his exceptional compositions. He embarks us in his journey.

Jorge Antunes interview by Luca Forcucci / 20 November 2018 / Recife / Brazil

Jorge Antunes formou-se em violino, composição e regência. Em 1961 se destacou como precursor da música eletrônica no Brasil. Realizou estudos pós-graduados na Argentina, na Holanda e na França. Foi Professor Titular na Universidade de Brasília de 1973 até 2011 quando se aposentou. Obteve vários prêmios nacionais e internacionais. É membro da Academia Brasileira de Música. Suas obras são publicadas por Salabert, Breitpkof&Hartell, Gerig, Ricordi, Sistrum, Billaudot e Suvini Zerboni.

Escritor

Sua produção literária é vasta, embora pouco conhecida. A divulgação de seus poemas, crônicas e outros escritos tem se restringido à inclusão em algumas coletâneas, livros coletivos e jornais e revistas. Em 1998 a editora Hemisfério Sul, de Blumenau, publicou seu livro de literatura juvenil A Morte do Arco-Íris. Em 2001 ganhou o primeiro lugar no concurso de contos da Revista Poiésis. Em 2006 recebeu menção honrosa no Concurso de Contos Yage, em Salzburg, na Áustria.

Artista Plástico

Participou dos Salões Nacionais de Belas Artes, do Salão de Abril no MAM e dos Salões Nacionais de Arte Moderna. Partindo do princípio de que “o grau de recepção de uma mensagem artística é proporcional ao número de sentidos usados na recepção”, criou obras as quais denominou “arte integral”, pelo apelo direto aos cinco sentidos, inclusive o paladar. Emprega assim os diferentes recursos audiovisuais e cinéticos, além de odores, elementos gustativos e possibilidades táteis.

JORGE ANTUNES

was born in Rio de Janeiro in 1942. He completed his musical studies at the University of Brazil: violin, composition and conducting. From 1961 he stands out as a precursor of electroacoustic music in Brazil and begins research in the field of the correspondence between sounds and colors.

He took postgraduate courses in Buenos Aires, Paris and Utrecht, studying with Ginastera, Kröpfl, Gandini, Koenig, Bayle, Reibel and Schaeffer. From 1973 he is a full professor at the University of Brasilia, having retired in 2011. In 1976-1977, he completed his doctorate at the University of Paris VIII under supervision of Daniel Charles.

Antunes works with electroacoustic music and computer music, but his instrumental production is very great. Its scientific production is also vast, with articles published in several specialized journals and annals of congresses. He has published five books on techniques and theory of contemporary music.

Their scores are published by Suvini Zerboni, Billaudot, Breitkopf & Hartell, Durand and Sistrum. In 2002 he was appointed Chevalier dans l’Ordre des Arts et des Lettres by the French Ministry of Culture and Communication. In 2012 Antunes received the Ibermusicas prize. In 2013 he was a resident-composer at CMMAS, Mexico. In 2014 was done, in Brasilia, the world premiere of his new opera “A Cartomante”. In March of 2017 was done the world premiere, in São Paulo, of his new opera “The Mirror”.

Their scores are published by Suvini Zerboni, Billaudot, Breitkopf & Hartell, Durand and Sistrum. In 2002 he was appointed Chevalier dans l’Ordre des Arts et des Lettres by the French Ministry of Culture and Communication. In 2012 Antunes received the Ibermusicas prize. In 2013 he was a resident-composer at CMMAS, Mexico. In 2014 was done, in Brasilia, the world premiere of his new opera “A Cartomante”. In March of 2017 was done the world premiere, in São Paulo, of his new opera “The Mirror”.

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Phill Niblock: the life of a living icon in experimental intermedia

The artist evokes is journey into photography, films and music, and the technology he used over the years for each discipline. Moreover, he talks about his loft in New York where concert of ‘new’ music took place through Experimental Intermedia organization.

Phill Niblock / Interview by Luca Forcucci – May 21st 2018 / Berlin

Phill Niblock (b. 1933, USA) is an artist whose fifty-year career spans minimalist and experimental music, film and photography. Since 1985, he has served as director of Experimental Intermedia, a foundation for avant-garde music based in New York with a branch in Ghent, and curator of the foundation’s record label XI. Known for his thick, loud drones of music, Niblock’s signature sound is filled with microtones of instrumental timbres that generate many other tones in the performance space. In 2013, his diverse artistic career was the subject of a retrospective realised in partnership between Circuit (Contemporary Art Centre Lausanne) and Musée de l’Elysée. The following year Niblock was honoured with the prestigious Foundation for Contemporary Arts John Cage Award.

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