| A.Andreas on Fri, 17 Sep 2010 17:27:58 +0200 (CEST) |
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| Re: [Nettime-nl] Uitnodiging: lezing met aansluitende gestuurde brainstorm --impact van remix cultuur op het buitenschoolse (kunst)en media onderwijs-- |
Haha, Daar houd ik nu van: "(Failed) Survival Strategies" Een begrip waar we nog veeeel meer van gaan horen! Zie ook: " Critical Mass in F minor" - Hiroshima 2010 Kyrie: Detritus: the rests of what remained Renegade: the post post modern men Credo:The Cryptographic Gods of our ancestors dressed in Mosaic barbs, drenched in the excrement of history, draining an endless chain of failing survival strategies in a networked latrine.
Hosannah: More radioactively than ever we live further in the fall-out rain of the ARPAnet Haleluja: Atomical to in our soul Agnus Dei: Counting Geigers Counting Death AA, 6 augusts 2010 Andreas Jacobs w: http://www.nictoglobe.com w: http://burgerwaanzin.nl On 26 Aug 2010, at 09:36, Alan Sondheim <[email protected]> wrote:
Culling Death and the C C Cafemass-substance, and the country into a complex of C Cs, squads, killing fields, refugee Cs. What of the orchestras, in fact, that played in the CCs, also what of the jazz performance. ---jazz performance in a C C--- mass-substance, and the country into a complex of C Cs. zoo functioning as an inverse C C - the animals are ideally the planet into one great C C of final and irrevocable # the foiled assass- ination. the C C. the computer-roundup.---jazz performance in a C C--- squads, killing fields, C Cs, refugee Cs. What is a C C. They were clad there, how would you call it... C Cs, the violence of in/scribing; the _trap_ of public Cs for nearly a year. the earlier culture of existentialism, the Cafe served a similar purpose, and I went to the small Cafe inside the train station. The man who served me would use all of this to extend his connections into the Aumont's Cafe and I was watching the Lumieres' cinematograph - moving from the Cafe at the cross-roads, it's maybe a half mile away. I'm usually linked to Pierre at the Cafe and coupled otherwise to the Beaver. The wall, the Cafe closes for the night, red and white checkered tablecloth would lose its contact with the world, with the Beaver, who waits for me with Pierre at the Cafe shortly after Klein went to the small Cafe inside the train station. Theman served me counterpoint; this is hardly the wide-awake state ofSartre's Cafe life: latenight at the C C Cafe and the orkestra repeats.@ CC Cafe we go on After Auschwitz After Auschwitz and Auschwitz is barbaric true America is barbaric true Auschwitz, Theodor Adorno proclaimed. true Auschwitz, no theology: From the chimneys of the Auschwitz.. true and No poetry after America and true Our Auschwitz true after Auschwitz, In other words, has the - after Auschwitz,? and, similarly, there can be after Auschwitz. > What could that mean? and after Auschwitz, and, similarly, there can be and poetry after America and true before and after Auschwitz were separated ... lyric poetry after Auschwitz was itself no lyric poetry after Auschwitz... poetry after America and barbaric ... poetry before and after Auschwitz were that to write lyric poetry after Auschwitz that writing poetry after America is write lyric poetry after Auschwitz is "A day of bright fall weather, if Auschwitz hadn't happened, "If Auschwitz hadn't happened, if September were another, This is the garb of the planet called Auschwitz. And I believe withAuschwitz is a call to war. We will show nuclear explosions and napalm. Auschwitz. I was there for about two years. Time there was not like it is Auschwitz. enough. Auschwitz; Auschwitz a call nuclear explosions napalm.If Auschwitz hadn't happened, if September were another, So the question is: How do you make art - not after America -This is not enough. We will show Auschwitz. We will not show Auschwitz;and eleven years or so after america and he's penning and insistent on the lyric after america, collaboration and over from america and plasma and fury/ always on the horizon/ universal america/ triumph and the little town called Auschwitz america later almost by the span of a man or woman, but IN America? Because we are at the gates and work arbeit doescut out, decomposed elsewhere, increased complexity of coding, Auschwitz,functional enclaving. The world has become a mobius-strip Auschwitz, insistent on the lyric after america, collaboration little town called Auschwitz!nervous zoom. hello you will see america on a shelf. will you slip away one might not write lyric poetry after Auschwitz, philosophy stands firm.otherwise by - any the means of furious world america to get - plasma and fury/ always on the horizon/ universal america/ triumphstars influence our destiny, so does this planet of the ashes, Auschwitzstars influence our destiny, so does this planet of the ashes, America
De modus voor de 21ste eeuw Andreas Maria Jacobs w: http://www.nictoglobe.com w: http://burgerwaanzin.nl "Politics is the Architecture of Death" On 17 Sep 2010, at 16:10, "Patrice Riemens" <[email protected]> wrote:
Staat het afschaffen van het kunstonderwijs in de 21ste eeuw ook op de agenda/ het programma? (Anders praat je natuurlijk alleen maar over survival strategieen, cq arbeidsplaatsenbehoud.) ;-) Cheers, p+3D!Beste nettimers,We willen jullie graag uitnodigen vooreen lezing over de impact van deremix cultuur op het buitenschoolse (kunst)en media onderwijs en een aansluitende gestuurde brainstorm. Daarin ontwikkelen we gezamenlijk toekomstscenario's voor het kunstonderwijs van de 21ste eeuw:-). Dezelezing - brainstorm vindt plaats op 1 october in het compagnie theaterin AmsterdamDe volgende sprekers geven een presentatie: Petra Heck, curator van hetNederlands Instituut voor Mediakunst (NIMk)laat zien hoe hedendaagsemedia(kunst), participatie en remix cultuur elkaar beinvloeden. Emiel Heijnen, senior docent en onderzoeker aan de Amsterdamse Hogeschool voorde Kunsten vertelt over zijn promotieonderzoek aan de RadboudUniversiteit waarin de discipline-overstijgende aspecten van media- en kunsteducatie centraal staan. Eric Rosenbaum is een ITRI fellow aan hetMIT Media Lab. Zijn presentatie (via video conference) gaat over de relatie tussen improviseren en leren: Creative Learning Remixed: Improvisation and Expressive Inquiry. Hij zal enkele van zijn recenteprojecten bespreken zoals zijn werk aan Scratch en zijn eigen projecten,Glowdoodle, Mmmtsss, Singing Fingers, Drawdio, and Project Q. Het volledige programma vind je hier. http://www.kunstfactor.nl/kunstfactor/pagina.vm?id=2238 Aanmelden kan bij [email protected] Hopenlijk tot 1 October! Met hartelijke groet ArijJan... ... ... ... ... .....................................................................ArijJan Verboon adviseur (Nieuwe Media) werkdagen maandag t/m donderdag... ... ... ... ... .....................................................................Kunstfactor sectorinstituut amateurkunst Kromme Nieuwegracht 66, ingang via Jeruzalemstraat Postbus 452, 3500 AL Utrecht T+31 (0)30 711 5180 www.kunstfactor.nl... ... ... ... ... .....................................................................Kunstfactor Live! http://www.kunstfactor.nl/kunstfactorlive 30 september, 1 - 2 oktober Amsterdam De informatie in dit e-mailbericht, inclusief eventuele meegezondenbestanden, is uitsluitend bestemd voor de geadresseerde. Openbaarmaking aan derden, in welke vorm dan ook, is alleen toegestaan na toestemming vande afzender bij Kunstfactor.This message and its attachments are confidential and may be privileged or otherwise protected from disclosure. Please refrain from using or copying its contents or disclosing its contents in any manner to third parties.P Please consider the environment before printing this e-mail. ______________________________________________________ * Verspreid via nettime-nl. Commercieel gebruik niet * toegestaan zonder toestemming. <nettime-nl> is een * open en ongemodereerde mailinglist over net-kritiek. * Meer info, archief & anderstalige edities: * http://www.nettime.org/. * Contact: Menno Grootveld ([email protected]).______________________________________________________ * Verspreid via nettime-nl. Commercieel gebruik niet * toegestaan zonder toestemming. <nettime-nl> is een * open en ongemodereerde mailinglist over net-kritiek. * Meer info, archief & anderstalige edities: * http://www.nettime.org/. * Contact: Menno Grootveld ([email protected]).
______________________________________________________ * Verspreid via nettime-nl. Commercieel gebruik niet * toegestaan zonder toestemming. <nettime-nl> is een * open en ongemodereerde mailinglist over net-kritiek. * Meer info, archief & anderstalige edities: * http://www.nettime.org/. * Contact: Menno Grootveld ([email protected]).