Sep 1, View More. Most viewed in last 24 hours. Social Media News. Social Issues. Close dialog. Session expired Please log in again. Hivyo alipotambua kuwa amekwishabeba mimba akaweka hiyo nadhiri. Aliposema mke wa 'Imraan: Mola wangu! Nimekuwekea nadhiri kilichomo tumboni mwangu kuwa wakfu; basi nikubalie. Maana kwamba Wewe Unasikia Du'aa yangu na Unatambua niya yangu. Hakujua kama atajaaliwa mtoto wa kiume au wa kike. Alipojifungua mtoto wa kike aliona kwamba mwanamke sio kama mwanamume kwa kukusudia katika kujifunga na ibada msikitini.
Basi alipomzaa alisema: Mola wangu! Nimemzaa mwanamke - na Allaah Anajua sana aliyemzaa - Na mwanamume si sawa na mwanamke. This essay offers an investigation into the notion of interstitial space and its creative exploration in various sitespecific art practices as creatively realised mainly with the use of digital technology.
This is the first part of this three-part essay. This essay offers an investigation into the ways through which, potential interstitial spaces can be creatively revealed through various modes of innovative Nevertheless, such elements are by no means settled, predictable and ordered, as the algorithmic infrastructure of digital visualisation systems is affected by its inherent heterogeneity, abstraction, complexity, instability, and noise.
In such creation of the universe, the elementary triangles of the elements are restructured. For instance, during the transitional phases of this creation process, cubes may be disorganised by been cut either at their edges or at the primary triangles from which they have originally derived, resulting in floating flat shapes. In the contemporary context of art. Or, going beyond such dialectics, what is the real in the virtual and vice versa?
What could be the significance of achieving this? It may be argued that it is essentially spaces of possibilities that can be produced through VR.
Nevertheless, the possible may only leave as with a certainty. Instead of simply applying known spatial concepts to VR, an array of questions arises, as for instance, what is at the other side of matter? Where and how can we draw the borderline. These spaces emerge from the virtual clashing of displaced topographical and structural grids.
Aninterstitial space may be unexpected without being nondevelopmental. The notion of interstitiality is related closely to the workings of a diagram. In House X and Cannaregio Town Square, the architectural design elements interact with each other during the design process of imprinting, so that, they alter their contents and become altered by them at the same time.
The crucial process of decision-making usually takes place between these stages. According to Anthony Vidler, Eisenman intends to retain the fluid non-dialectical consolidation of. As an end-product, a building challenges the functional aesthetics of standard architectural types, as it essentially In terms of digital site-specific art, the opportunity to reveal and challenge the relationships between diverse kinds of reality and perception can be achieved through exploring various types of interstitial space by using digital visualisation tools, VR and Virtual Environments for creating innovative as well as unsettling kinds of spatial intervention.
Through such an interaction, it is possible to surpass the limitations of producing a neat and settled hyperspace that would be characterised by the unity and continuity of spatial augmentation.
Imperceptibles and intermediates would emerge, as we unravel what is observable. The latter can be perceived as the outcome of the various intersections of interacting fields and the ruptures that emerge from the changing and heterogeneous nature of the layers of space.
An oscillation between atopias, utopias and dystopias may challenge. This does not mean that the physical space becomes irrelevant… it is through the interaction of the physical space and the data that some of the most … amazing art of our time is being. Lambert Academic Publishing, Odysseus Chatzopoulos, Kaktos Publications, Athens, , 50c — 51b, 52d 49a, 52b. Comments Nos. Comment No. The purpose of this article is to introduce a series of reflections around a phenomenology of the Net in which the classical meaning of the most common categories of philosophical interpretation — time, space, subject, object, perception, image — definitely seems to creak.
We chose to start from time, on the one hand, because of the value that this category has gained in the history of Western thought and, on the other, for the evidence of an ongoing morphogenesis in the way men experience it in the digital and computerized contemporary society. The issue around which we want to orbit is: what is the experience of time that the Internet offers us?
According to Kant, the Aristotelian concept of time cf. Physics as a measurable order of movement, is formalized in a causal Newtonian order, based on the irreversibility of the time arrow.
Moreover, following the development of quantum physics, it becomes virtually impossible to conceive space and time as indipendent a priori, moment-b-moment decipherable categories of a biunivocal relationship We wonder whether it makes sense to apply a categorical and aprioristic conception of time to explain the concept of temporality in the Net.
It certainly may seems weird to think about time in this ascetic mode, considering that, in the virtual world of the Internet, time has to be acted by an observer — or, better, an operator — rather than to act, to preexist.
And not even causal mechanicism seems able to describe this pragmatic temporal relationship between the user and the Internet, as it appears for example in our simultaneous attitude of reading multiple pages at the same time, symptomatic of how the causal sequentiality of time is quickly abdicating in favour of a random multi-layered sinchronicity. As already stated in St. The user seems to internalize the simultaneous and multi-tasking time overimposed by the Internet, in a paradoxical circle in which the Net, on the other hand, seems to externalize several working mechanisms of the unconscious e.
Undoubtedly, these considerations move us towards a conception of time in which the presence of an Thus, the time of the Net seems to resemble the unconscious time of dream, in which the metamorphosis. In this sense, the Internet may be thought of as a distorting and inprogress mirror of the unconscious.
Walter Benjamin, The Work of Art in the Age of Mechanical Reproduction , as well as in the act of a compulsive uploading of millions of filmed and photographed images in which our memory believes to externalize itself. Science Robert Pollack, , defined as the interval between the perception in real-time and the 40 milliseconds required for its becoming conscious, is canceled.
It is perhaps in this frame that the deepest desire of contemporaryzoe biopolitics is disclosed, a desire to economically colonize the moment, the purest moment of bare life. That individual life preceding community which, conversely, just through bios the technologies of the moment, may be able to continually redefine itself Mille as thePlateaux active node of arachnoid, rhizomatic, n-1 microcommunities cf.
Slippery, elusive, uncontrollable, apparently incurabile. How does net art exhibit itself? The question is open more than ever now and it is at the core of many debates , with the attempt to develope new fruition, exhibition, distribution models to try to overcome some technical and conceptual critical situations brought to surface by the Internet medium. In the meantime net art remains one of the less financed, supported, and exhibited artistic practices by museums and contemporary art centres at world level.
With some rare and precious exceptions. One of which is for sure the Jeu de Paume in Paris, famous contemporary art Institution in the heart of the Tuileries, very close to the Louvre, that great archieve of artworks-object. Even if we are convinced that we are living in a period of great artistic effervescence about the so-called new media, we are still used to think of Net Art  as something on the fringe of the big exhibition spaces.
The internet-based art takes with itself the dark shadow of processuality and immateriality, being it the last among the multimedia artistic practices and often an extension of that big analitical line which a large extent of last century artistic production went through.
Since she surely represents one of the most interesting voices to listen to on the relationship that digital art can develope with contemporary art institutions, we asked her some questions about the history and the activity of Espace Virtuel. From which instances, with which purposes? We are surrounded by an incredible number of different types of images. These images use diverse supports and devices to be showed nowadays. Since more traditional supports as photography, video, or cinema to the newest medias as computer interactive images or net projects, we want to offer to our audience the same diversity of images that they have in their daily life.
To explore the news medias and to present projects reflecting on these issues is one of our main goals as an Institution. We have had the pleasure of interviewing Marta Ponsa, who is in charge of the artistic and cultural projects of Jeu de Paume, and she has been taking care of planning the virtual exhibition space since The second reason of my selection is that I wanted to reflect on the net itself and its power and that is why I have selected projects that present.
Giulia Simi: How do you select the artists and works exhibited? Is there a link with the exhibitions in the physical space? Marta Ponsa: Espace Virtuel was born in During the first two years, curators of the Satellite Program were selecting the artists and projects for this space. Since , I have taken care of this program. For the third year I have decided to select French net artist. The control and the surveillance of our movements Les Trucs was one of the subjects of from the collective Microtruc.
Those projects, together with. All our activities, cinema programs or exhibitions share that question. In all those cases, Jeu de Paume was the producer of the works, that means that we participate economically in the work supporting net art. This represents one of the critical issue in market development about new media art, together with the immateriality of the work.
Do you think this is a sustainable practice for a longtime? Or maybe is this a period of adjustment before internet-based art develops other and specific models of fruition and distribution, maybe quite different from those ones of the art contemporary system? What do you think about that? Virtual spaces for virtual works: perfect solution or the attempt to bypass an old problem?
Marta Ponsa: It is a very difficult question. In fact it is the same problem had by other collectives that uses the net to show and to promote their work music, videos. How artists, musicians etc can survive only thought an exchanges economy? The Internet system and artists should think about new distribution channels with paid specific contents? Or through the galleries or web sites? Or via the phone operators? The fact is that the majority of net artist live on teaching, designing or on other jobs for the moment.
May be it is not so bad. Virtual spaces are new topographies, new places to visit, to take up and to use as public spaces. I think this space is an opportunity for artists and curators to show projects and to share information and discussions. Why not? The theme is only a criteria of selection and every work is made by artists that Christophe follows and likes since long time ago.
He has put together different ages and nationalities around a wide subject, the Identity in the web. What would be the limits and difficulties in developing a real exhibition online platform, able to host different works to be browsed within a unique interface? Do you think that research of new online fruition models that is new interface and interaction models, could maybe represent one of the possible developments of curating art on the Internet?
It can be a more flexible place to show a community of gestures thinking about our contemporary society. That without forget artistic gestures, of course. We have focused in Tanni in A. Monteverdi, Le arti multimediali digitali. Storia, tecniche, linguaggi, etiche ed estetiche delle arti del nuovo millennio, Garzanti, Milano, and M. Fidel was then an artist that few in his country could comprehend. He was introduced to me by other artists: he was helping them rearranging their audiovisual documentation archive.
At that time to import computers in the island without permission was still forbidden, as well as to buy some without publicly recognized institutional reasons. A Mac was a unique good and Fidel was one of the few in town who could ever use it and produce something creative with it. After that meeting, I had known Fidel was a genius at using every kind of technology. Fidel Garcia at that time he was still known with his Micro X nickname, by the name of the homonym precinct of the Alamar quarter where he still lives now has paid me a visit to talk about his work.
It seemed a list of complex and obscure operations through and through. Realization of a mobile radiophonic emission in the streets of his quarter; And above all, he was also the author of strange projects. He had become a radio amateur in order to enter the T. During his presentation, Micro X. All the non Cuban critics nodded to that comment, for they could find neither a link nor an aesthetical reason for those operations.
The output of his works often mixes old and new technologies, and expresses itself as the reconstruction of a new world with rules and life of its own, generated by the alteration of the normal functions of the previous system and, subsequently, by the public show of its mechanisms and bugs.
His experimentations with old and new technologies operate conceptually in public, social spaces and every kind of system. He believes art is a platform where to create public events: the public spaces of a town, a public building, the air, the telephonic networks and society in general. Wires, sound waves, tools emitting sound, computers, motors, chemical reactions, engineering structures are pure instruments in this sense.
They are tools used in order to demonstrate axioms and not functional to the construction of an aesthetical object or useful to the aestheticization of a process. Art is now at the edge of its evolution. Working with information media connects you with the present, with what is happening now in the world. Here, indeed, it happens in a less diffused. That is why Fidel Garcia speaks of himself as an activist and anthropologist. Power and control are indeed the main core. It utilizes codes of common use that act as another language within the context of the newly born situation.
Even when they are present as in the case of T. Many people use technology in the world, but very few of them use it as a medium. The greater part uses media and technologies as concept. In other words they process works in which the instruments used suggest their meaning as well. I prefer using technologies as pure medium. An information medium. The mechanism of the media I am using determines the meaning of my work.
The work is meant for the public spaces but it does not count any immediate interaction with other individuals.
In other words, the analysis of the systems unveiling structures and mechanisms becomes the base on which to build other systems that are their functioning metaphor.
My works start from codified programming systems that were born out of reality but soon they build another one during their functioning. A parallel reality. The medium then becomes an effective tool to trespass in our everyday life. My work generate. I focus on the human influence on the territory.
I work in favor of the territory. I consider it an independent space. Such a nonsense if we think about our everyday reality, where the territory is pretty inert. Then if I use a human being in order to make a performance I use him as a organization conveying information, not for his own body. The same applies to the territory: an information archive, a memory bank to penetrate and to work with.
And I work with each memory bank of every territory, which provides me with different information. My role is then to channel information, depending on the territory I am operating in. He has lived in Denmark, at the Rijksacademie in Amsterdam and has become professor at ISA, the same school where he grew up artistically and still many Cuban artists of the previous generations teach.
It shows how ideologies work in social systems and decode them as prescindible, not obligated procedures one can always find a way out. ISA is one of its kind. Art students from all around the world come here only after a difficult test and improve their artistic practice on a creative and theoretical base.
The installation utilizes the concept of lobotomy as the metaphor of information deleting in a complex. STATE instead consists in the creation of an information virus by the same name. The software bases its functioning on learning from its mistakes.
For example, it identifies needs, dependences and subordinations of the system it is installed to. Therefore, art is for Fidel a platform of symbolic systems, images of social reality. Francesca Grilli, who was born in Bologna and now lives in the Netherlands, has developed her research on the human figure realizing works inspired by her personal memories which are linked to her family and her daily life. Her work recently focused on the obsessive search for the daily miracle, through the manipulation of reality and adding an unexpected variable that produces a sense of familiarity that can also be shocking.
The case is placed horizontally, not vertically, for the performer to detect the vibrations with his feet. She did not make up. The language she has used predominantly in recent years is performance; her performances are accompanied by a profound study of. Alessandra Salviotti: How did you get to performance? Francesca Grilli: The shift to performance is linked to a personal fact of my life: a few months before my grandmother passed away and I decided to spend some holidays with my grandfather.
During that summer I got into his world, I accompanied him to the dance halls in Emilia he usually frequented. This work went well,people were interested in it so, I then realized many other performances.
I believe the transition from photography to performance is easy: I re-create moving images, still frames. What happened then? Francesca Grilli: I studied at the ISIA in Urbino a school focused on graphic design and photography and what interested me the most was to develop photograph investigating precisely the aspect of traditional techniques also working a lot manually.
Then I moved to Milan, where I attended a more theoretical course which was related to contemporary art; there I started working with an artist, Alessandra Caccia, another photographer.
From to we worked together, our name was Caccia Grilli, and together we began to explore video. The changeover from photography to video was fairly straightforward. Alessandra Salviotti: Many artists working with performance are the protagonists of their performance. You are not. Francesca Grilli: Paradoxically, I am present in my videos as a physical presence, but not in my performances.
Perhaps because these actions derive from images that come to mind or I bump into in my daily life. Because I am fascinated by the life of other people I do not think my physical presence is necessary; having In my opinion this is the definition of daily miracle: little things that amaze us.
Had I found a fakir levitating I would have invited him to my performance. The physical effort and skill that the performer has to make in carrying out the action must be relevant and with some risk, although not revealed. Facing risk gives value to the action.
This does not mean that I am not present; for example in Enduring Midnight , a performance I dedicated to my grandmother , I am present as a simulacrum.
The performance was called after an opera; in it an opera singer sings at night: in fact I sing for her. There is another person with some very specific physical particularities that I do not have who represents me. What inspired you? Suddenly the director chooses to turn down the volume of the music in order to show how the same situation is perceived.
Alessandra Salviotti: The search for the daily miracle: I noticed your meticulous attention to detail that is presented to the eyes of the viewers as well as real actions; in fact your aim is to underline the illusion that occurs before the eyes of the viewers. She is also under the influence of drugs and the director shows in her all the cliches of adolescents in a disco, but she does not hear a sound and she lies to everybody because she dances.
At one point in the same scene she comes closer to one of the audio boxes and she touches it in order to understand what is really. Francesca Grilli: Have you ever noticed scenes in a sense apocalyptic in their banality, or combinations of special characters, or objects and The same year I developed a site specific performance for the festival Drodesera, which financed the entire cycle of works, which consisted of a choir of deaf people singing in the woods at dusk.
The audience reached the place where the choir was after 20 minutes walking up the mountain; the choir sang quietly. At first I tried to find some deaf musicians, I was interested in people producing sounds without hearing them, but I did not want any sense of pity. He introduced me to Nicola della Maggiora who then became my performer.
He was 14 years old at the time and he embodied all the elements that interested me. From here the trilogy started. The following year I shot a film in 16 mm called La Quarta Conversazione in which I invited a group of teachers of deaf children to sing a lullaby. Usually these songs only have a sound aspect because listeners fall asleep; in this case, only the visual aspect is underlined because it is sung with hands.
I was interested in the aspect of an impossible communication. The Conversation is the last work of the cycle. It ends it. Alessandra Salviotti: Regarding The Conversation the installation is magnificent. What do you think about this aspect taking into consideration that you never leave any record of your performances? Francesca Grilli: This work includes a sculptural part of it which has to stay and live by itself full of the memory of the performance.
For me it is a real. Francesca Grilli: La Terza Conversazione is the first work. In it, Nicola stood on a wooden structure. I never present any video documentation as a work; I use it in order to show what happened. On the contrary, the photographs are accompanied by the audio of the performance; they help in understanding the performance.
They are talking very much about her recently and her works are much requested in every new media art centres all around the world. We are obviously talking about Sonia Cillari, original artist carrying on by long time a personal and coherent project, by offering to the public a way to enter, feel and live her work with body and soul. A few months ago she won the first prize in Vida This just to mention her most recent successes and leaving.
Has it a more particular meaning in a path like yours, where space plays a really key role? Sonia Cillari: Luckily I am curious and this helped me in the choice of my educational path. Moreover, it contributes to foster an expressive creativity, necessary when facing the different conditions of a new artistic and social environment.
During her path, ranging from architecture to media art, from Italy where she was born to Amsterdam where she lives , Sonia shows us how space and body are two interfaces acting on one another, through the language of perception and sensation.
The reaction of the public is indeed a fundamental part of my research and so when the comparison is different I feel enriched by that. When I can, I try and live in beautiful cities. For example, in the last few years, for work or personal choices, I have often spent time in wonderful Venice. Barbara Sansone: Naples, Rome, Paris, Barcelona, Amsterdam: such are the five principal steps of your educational path.
Not to mention the various phases of your artistic career, that brought you and keep on bringing you in different parts of the world. Do you think this sort of nomadism, now typical of new art, is fundamental to make an artist grow?
Barbara Sansone: Did you ever ask yourself how you works in the future will be? Did you forecast a form of preservation so that they could live through time, despite the rapid change of technologies?
Barbara Sansone: What are the kind of problems encountered by your works during conception, realization and distribution? Sonia Cillari: My works require a sometimes longer than expected period of research and experimentation and this can lead to problems. About this site Please note that some of the places featured on this site cannot be verified for certain. Our social media channels facebook twitter pinterest instagram youtube.
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