Wendy Van Wynsberghe is member of Constant. She studied Germanic languages (English and Dutch literature and () The split and contradictory self is the one who can interrogate positionings and be accountable, the one who can () An analysis on the graphic systems of transcription of the movement which allow to realize partitions (scores) for () Met een toverspreuk - zo begint dit beeldverhaal over het omzetten van handelingen in code en weer terug. Catherine () Photographs by Peter Westenberg and Femke Snelting. Day 1: We will walk the city of Antwerp. Attached to our feet will be low tech recording devices. Through them, we () I am trying to think of the various different kinds of virtue or strength that can be developed by the musician. () How do these new tools and technologies affect our perception of space and of our social needs? Some examples and () Create ideal working space related to project collaborative research. Elke Van Campenhout, coordinator for Apt, is () Kirsty Stansfield is an artist currently undertaking a practice-based PhD entitled, “Sound As Interface - A () As a living memory the discs and media players in the video library are embedded in a dress designed by artists () Studied philosophy, visual art and experimental filmmaking in Münster, Enschede, Montréal and Berlin. Since 1992 she () . “Without denying the specializations of each group member, two questions came up: how can we conceive music from a () Where we will consider also creativity as a tool box, and technique. Where we will consider the tools and the box. () Larry Peacock is a feminist project with and about the performativity of electronic/pop music reflecting gender () Une image de fiction peut nous aider à figurer, à rendre visible, sensible, une position, une expérience que nous () They rely on serious play and playful obsessions, call to question intimate physical partnerships and explore the () Peter Westenberg (NL, 1968) is a member of the Brussels’ media collective Constant. He examines, among others, the () First, we explored the possibilities of documenting an urban performance. Traditionally this would have required at () A two-day workshop addressing issues around sensory overload in relation to digital media. We continue to () The questions of 'otherness' or the Other is rarely posed in relation to software as such. This is because () Performing Proximities explores notions of hospitality, intimacy and confrontation, both in relation to programming () Canadian Antonija Livingstone chose a nomad way of life and work that has taken her to Montreal, Berlin, Stockholm () Whether we operate a computer with the help of a command line interface, or by using buttons, switches and clicks… () In The Confessions of Zeno, Italo Svevo describes how one evening Zeno strikes up a conversation with a doctor who () Praticable proposes itself as a horizontal work structure, which brings into relation research, creation, () Choose a scene from the film Tokyo Story by Ozu, and notate the scene as it happens creating your own notation () Simon Yuill is an artist and programmer based in Glasgow, Scotland. He is a developer in the spring_alpha and () For Touching code, objects, others (or: Object oriented), we will be turning toward objects and tools of everyday () A comparison of experimental music collectives of the late 1960s, such as the Scratch Orchestra and the Black () The workshop will be based around a piece of software that tracks movements via video camera. This translates () Rogério Lira is a graphic and interaction designer living and working in Amsterdam. Born in the sixties in São () The Scratch Orchestra was an experimental musical ensemble founded in the spring of 1969 by Cornelius Cardew, () The computer is way off neutral. Like its users, it is a freak of number. In combination with people, networks, () Strategies/scripts to be performed in the rooms inhabited by the Apt group at deSingel to develop modifications to () Copyright is one of the most hotly contested areas of contemporary cultures. Many feel that current copyright () During the years in which the women's liberation movement has been taking shape, a great emphasis has been placed () Participatory projects exploring different ways that sound can mediate people's interaction with each other and () Can you remember the different situations for dancing proposed during the workshop given by Heather Kravas and () Attached to your feet are low tech recording devices. Through them, you observe yourself making contact with the () For this film, Nauman made a square of masking tape on the studio floor, with each side marked at its halfway () The workshop was based around a piece of software that tracked movements via video camera. This translated movement () Tool box, shoe box, inventory, diary, archive, remembrance of things past, we propose here different navigations () Drawing connections between shoe, street surface and recording device. Sweetness and fear among strangers and friends. Longtime friends and collaborators Antonija Livingstone and Heather () A research project proposal that will combine cultural critique and design research to address issues of sensory () About archiving, building, spaces in other spaces, in order to create meeting points An interview with Meggie () Might we conceive of touch as the original sin? In Genesis 3:3 (King James Version), God says unto Adam and Eve: () Cultural producer and curator with a background in theater and film studies, political science and gender studies. () Antonja Livingstone & Heather Kravas in conversation with Bettina Knaup, in the Kitchen by Meggy () A comparison of experimental music collectives of the late 1960s, such as the Scratch Orchestra and the Black ()
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