T.E.H.D.A.S. blog has moved to tehdasry.fi
in the future we will think about this blog.
Thank you and see you in the other Blog.
22.11.11
T.E.H.D.A.S. blog has moved to tehdasry.fi
T.E.H.D.A.S. blog has moved to tehdasry.fi
in the future we will think about this blog.
Thank you and see you in the other Blog.
in the future we will think about this blog.
Thank you and see you in the other Blog.
27.10.11
Rajaton
Galleria 3h+k:ssa Jasu Salmi, Mikko Kautto, Mikko Valtonen 29.10.-20.11., avajaiset 28.10. kello 18, tervetuloa!
22.10.11
21.10.11
TUPARIT
 21.10.2011 KLO 18.00 OHJELMASSA ON RUOKAA JA JUOMAA MUSIIKKIA, PUHEITA, KIVOJA IHMISIÄ JA HISTORIAA *Performanssia *Rapajööti All Stars *Sigi Tolo *Dj Klenka *Dj Jyrki Laiho YSTÄVÄLLISIN TERVEISIN, KULTTUURIYHDISTYS RAPAJÖÖTI T.E.H.D.A.S PORIN KEHITYSMAAKAUPPAYHDISTYS PORIN SEUDUN MAAN YSTÄVÄT RAUHANPUOLUSTAJAT TAITEILIJASEURA NYTE | |
11.10.11
Kankaanpään taidekoulun puolesta
Opetusministetriö esittää palautteessaan Satakunnan ammattikorkeakoululle Kankaanpään taidekoulun, eli kuvataiteen koulutusohjelman lakkauttamista. Vuonna 1965 perustettu taidekoulu oli ensimmäinen maaseudulle perustettu vakavasti taiteijan ammattiin kouluttava oppilaitos. Sen perustajat olivat inhimoisesti taiteen asiaan uskovia ammattitaiteilijoita, joiden perintönä oppilaitoksessa on vahva usko taiteen universaaliin merkitykseen.
Opetus ja kulttuuriministeriö perustelee päätöstään seuraavasti: Ammattikorkeakoulun Kankaanpään yksikkö on irrallaan korkeakouluyhteisöstä ja opetus- ja kulttuuriministeriön näkemyksen mukaan yksiköllä ei ole jatkossa toimintaedellytyksiä. Irrallisuus on päin vastoin nähtävä vahvana perusteena säilyttää Kankaanpään taidekoulu, koska se on eräs harvoista alan laitoksista, joka on säilyttänyt vapaan taiteen täysipainoisen opiskelun edellyttämän toimintaympäristön. Ammattikorkeakouluissa kulttuurialaa yleisesti ja kuvataidetta erityisesti on kuristettu alan oman kehityksen kannalta väärillä perusteilla.
Alueellisesti Kankaanpään taidekoulu toimii satakuntalaisen taidekentän perustekijänä, jonka poistuminen kulttuuritoimijoiden verkostosta vaarantaa satakuntalaisen taidekulttuurielämän.
Kankaanpään taidekoulu tarjoaa perinteisten kuvataiteen osa-alueiden lisäksi ainoana ammattikorkeakouluna mahdollisuutta opiskella esitystaidetta. 46 -vuotisen historiansa aikana Kankaanpään taidekoulusta on valmistunut menestyneitä taiteilijoita. Opetus on korkealaatuista ja opiskelijatyytyväisyys huippuluokkaa! Koulumme ansiokas ja perinteinen kuvanveisto-opetus on jo käsite, joka vaalii perinteisiä kiven -ja pronssin työstötekniikoita. Tämän tietotaidon katoaminen olisi suuri menetys suomalaisessa taideopetuksessa.
Satakunnan ammattikorkeakoulu on mukana koordinoimassa opetus -ja kulttuuriministeriön rahoittamaa art-360 hanketta. Hankkeen tehtävä on pureutua taiteilijoiden työllistymistilanteen parantamiseen. Jatkohankkeet ovat käynnissä ainakin vielä vuoden 2013 ajan.
OKM:n palaute on koulutus- ja aluepoliittisesti harkitsematon ja kevyesti perusteltu. Allekirjoita adressi Kankaanpään taidekoulun ja taiteen yhteiskunnallisen aseman puolesta!
Jukka Isokoski, Aapo Korkeaoja
http://www.adressit.com/allekirjoitukset/kankaanpaan_taidekoulun_puolesta/
7.10.11
3.10.11
29.9.11
Kutsu
T.E.H.D.A.S. : High Fashion - Low Life...
Eli myyttisen DaDaNallen ohjaama kieroutunut kuvaelma, jossa viimeisimmän suolistokauden haussa huippumalli -kokelaat kohtaavat Herman Göringin!, ELIDA MYYTDATIDASENDA DADADADANALDALENDA OHDAJAADAMADA KUDAVADAELDAMADA, JOSDASADA VIIDAMEIDASIMDAMÄNDA SUODALISDATODAKAUDADENDA HAUSDASADA HUIPDAPUDAMALDALIDA -KODAKEDALAATDA KOHDATAADAVATDA HERDAMANDA GÖDARINGDAINDA! Avajaiset pe 30.10. klo 18-20, OTA RENNOSTI! |
24.9.11
Taavin tulet rätisivät Kirjurinluodon rannassa
 |
Taavin tulet saivat liikkeelle ketjureaktion ja paljon ihmisiä Porissa Etelärantaan. Taidokkaat tuliteokset roihusivat perjantai-iltana Kirjurinluodon uimarannalla.
Taavin Tulet 2011 -tulitaidetapahtuman teemana oli tänä vuonna teoksia yhdistävä ketjureaktio. Jokaisessa teoksessa oli mekanismi, joka sytytti aina seuraavan teoksen.
Veistosten materiaaleina on käytetty erivahvuista puutavaraa, rautalankaa, olkea sekä kangasta.
Tulitaideteoksensa asettivat esille: Porin Taidekoulu, Lyseon koulu, Porin taiteilijaseura, Porin Nuokkari, Porin taidemuseo ja Porin lastenkulttuurikeskus – Satakunnan lastenkulttuuriverkosto yhdessä Länsi-Porin lukion kanssa, Satakunnan elävän kuvan keskus sekä T.E.H.D.A.S ry.
Tapahtumaa säesti Jukka Ranulan tuottama äänimaisema.
23.9.11
22.9.11
Taavin tulet 2011
Taavin Tulet -tulitaidetapahtuma perjantaina 23.9.2011 klo 20.00 alkaen Kirjurinluodon uimarannalla. Yleisöä pyydetään seuraamaan tapahtumaa joen toiselta puolelta Etelärannasta.
Tulitaideteoksensa asettavat esille: Porin taidekoulu, Lyseon koulu, Porin Taiteilijaseura, Porin Nuokkari, Porin taidemuseo & Porin lastenkulttuurikeskus - Satakunnan lastenkulttuuri-verkosto yhdessä Länsi-Porin lukion kanssa, Satakunnan elävän kuvan keskus sekä T.E.H.D.A.S. ry.
06.09.-02.11. Taavin tulet -näyttely. Kuvia Porin kulttuuritoimijoiden yhteis-voimin toteutta-masta tulitapahtumasta vuosien varrelta. PEDAseinä, Porin taidemuseon kahvila. Vapaa pääsy. Näyttelyn toteutus: Porin lastenkulttuu-rikeskus - Satakunnan lastenkulttuuriverkosto ja Porin taidemuseo.
Elina Strandberg & Elina Katara
1.-23.10.2011
avajaiset pe 30.10
klo 17
Galleria 3h+k
Itsenäisyydenkatu 47
Pori
17.9.11
Jäsenille ja kiinostuneille - DaDA BrunSsi
Edessä on suuria kysymyksiä ja ajatuksia sekä paljon
keskustelunaihetta.
Järjestämme Dada-brunssin, jossa keskustellaan rennossa hengessä nyyttärien muodossa tehdas asioista, sisällöstä, tulevaisuudesta,
ja on muutenkin kiva nähdä kaikkia!!
Brunssi pidetään 24.päivä klo. 15.00 alkaen 3h+k galleriassa (itsenäisyydenkatu 47.Pori.)
Tervetuloa!
Brunssi on aamupäivällä syötävästä runsaan aamiaisen ja lounaan yhdistelmästä tai välimuodosta käytetty nimitys (engl. brunch = breakfast +
Brunssi aloitetaan yleensä kello 11–12, ja se voi kestää aina kello 15:een asti. Brunssin juomiin kuuluvat tavallisesti kahvi ja tee, erilaiset mehut sekä erikoisuutena myös samppanja tai kuohuviini. Brunssissa ruoat on asetettu noutopöytään, josta kukin valitsee mitä haluaa. Brunssi on peräisin Oxfordin
.
Meidän brunssi on hieman toisenlainen ;)Tässä hieman infoa:
14.9.11
Nuori satakuntalainen kuvataiteilija 2012
Satakunnan taidetoimikunta ja Lönnströmin taidemuseo julistavat avoimeksi Nuori satakuntalainen kuvataiteilija 2012 -kilpailun.
Nuori satakuntalainen kuvataiteilija valitaan hakemusten perusteella. Ehdokkaiksi voivat ilmoittautua alle 35-vuotiaat Satakunnassa vakituisesti asuvat tai alueelta kotoisin olevat kuvataiteilijat. Palkintoon kuuluu Satakunnan taidetoimikunnan myöntämä puolen vuoden työskentelyapuraha sekä palkintonäyttely Lönnströmin taidemuseossa.
Kilpailun tarkoituksena on nostaa esiin satakuntalaista kuvataidetta sekä lisätä satakuntalaisen taiteen arvostusta. Nuori satakuntalainen kuvataiteilija valitaan nyt viidettä kertaa. Aikaisemmat palkitut ovat Kalle Hamm (1999), Marjo Heino-Fihlman (2002), Samppa Törmälehto (2006) ja Laura Lilja (2009).
Satakunnan taidetoimikunta ja Lönnströmin taidemuseo ovat nimenneet valintaraatiin seuraavat jäsenet: professori Päivi Granö, museonjohtaja Selma Green, kuvataiteilija Talvikki Lehtinen ja museonjohtaja Johanna Vuolasto.
Hakuohjeet: www.satakunnantaidetoimikunta.
13.9.11
Porin Saskiat ry:n stipendiaattinäyttely
Porin Saskiat ry:n stipendiaattinäyttely: Hannu Ahosola Janni Härmälä Henna Tyrväinen Poriginal galleriassa 24.9.-11.10.2011 Avoinna tiistaista sunnuntaihin klo 11-18 Luvassa veistoksia, maalauksia ja grafiikkaa. Avajaiset perjantaina 23.9. klo 18-20! Tervetuloa! -- http://www.porinsaskiat.fi http://www.poriartmuseum.f |
12.9.11
www.porintaiteilijaseura.fiAvoin näyttely Portait'S galleriassa
Avoin jurytetty näyttely taiteilijoille ja taideopiskelijoille järjestetään Portait´S galleriassa 29.10.-12.11.2011
Näyttelyn juryttää Vuoden nuori taiteilija 2003,taidemaalari Samu Raatikainen.
Jurytysmaksu, 20€ kaikille teoksiaan tarjoaville, maksetaan käteisellä teoksia tuotaessa.
Osallistumismaksu, 20€ kaikille teoksiaan esille saaneille, maksetaan näyttelyn loppuun mennessä.
Näyttelyyn saa tuoda tarjolle enintään kolme ripustusvalmista työtä vuosilta 2009-2011. Tekniikka vapaa.
Teosten vastaanotto on maanantaina 24.10. klo 17-19 ja tiistaina 25.10. klo 14-16.
Lisätietoja: www.porintaiteilijaseura.
Portait´S galleria
Sokos Satakunta, 2. krs.
Liisankatu 2-4
28100 Pori
puh. 044 7703 733
29.8.11
Ilkka Bergman - Maalauksia
Ilkka Bergman - Maalauksia
Galleria 3h+k, Itsenäisyydenkatu 47, Pori
Näyttely avoinna ke-pe 12-18, la-su 11-16.
Avajaiset 2.9. kello 17. Tervetuloa!
LIVIA TARMO: ART NOUVEAU - MAALAUKSIA
LIVIA TARMO Näyttely avoinna 3.9-25.9.2011 ke-pe 12-18 la-su 11-16 ma-ti suljettu
avajaiset 2.9 klo 17
17.8.11
Carita Ahlqvist - Rypyssä
TEHDAS ry:n vuoden 2010 stipendiaatti Carita Ahlqvistin veistosinstallaatioita, kantavana teemanaan vuorovaikutus, sekä suhteessa toiseen ihmisteen, että oman minän sisäisen ja ulkoisen maailman välillä.
Avoinna 11.-28.8.2011 ke-pe 12:00-18:00, la-su 11:00-16:00
Avajaiset keskiviikkona 10.8. kello 18:00
Tervetuloa!
12.8.11
Taiteiden yö Turun Sarjakuvakaupassa
Turun Sarjakuvakaupassa vietetään taiteiden yötä 18.8. Kaupan normaalia aukioloaikaa pidennetään iltakuudesta klo 22:00 asti. Kaupalla on sarjakuva-aiheista ohjelmaa ja vierailijoita koko illan.
Klo 16:00–17:00
Tuuli Hypén: Nanna 2
Turun Sanomien arkisarjoista ja Helsingin Sanomien sunnuntaista tutuksi tulleesta Nanna-sarjakuvasta on ilmestynyt nyt toinen albumi. Nannan piirtäjä Tuuli Hypén on tavattavissa kaupalla neljästä eteenpäin.
Klo 17:00–18:00
Pertti Jarla: Fingerpori
Maijastiina Vilenius: Minä sinulle homonyymit näytän – Kielellinen leikittely Pertti Jarlan Fingerpori-sarjakuvassa
Pertti Jarlan Fingerpori tuskin esittelyitä kaipaa. Jarla signeeraa albumeitaan kaupalla. Samalla vietetään ensimmäisen Fingerpori-aiheisen tutkielman julkistustilaisuutta. FM Maijastiina Vilenius teki pro gradu -työnsä Fingerporin kielileikeistä ja nyt julkaistu kirja pohjautuu tähän tutkielmaan.
Klo 18:00–19:00
Pauli Hirtolahti: Kakka-Ukko
Kakka-Ukko, tuo mainio ulosteen ystävä on nyt realisoitunut ensimmäisen albumin muodossa. Albumi on täynnä kommelluksia, joissa Kakka-Ukko mm. selvittää lantakasan arvoituksen, käy teatterissa, saa tylyn naapurin ja rakastuu. Pauli Hirtolahti on Kustannusosakeyhtiö Sammakon nuori turkulainen lupaus.
Klo 19:00–20:00
Turun Sarjakuvakerho ry:n antologian Sorsittujen esitaistelija ja muita kertomuksia julkistustilaisuus
Turun Sarjakuvakerho julisti viidennen Necrocomicon-sarjakuvapäiv
20.11.2010 yhteydessä traktaattikilpailun suurta sarjakuvavaikutta-
jaa Jack T. Chickia kunnioittaakseen. Necrocomiconin vierailla oli viisi
tuntia aikaa tuomita haluamansa asia sarjakuvallisesti. Tulokset ovat
nähtävillä nyt julkaistavassa antologiassa.
Turun Sarjakuvakauppa
Linnankatu 7
Turku, Finland
14.7.11
Suomi Areena 15.7
Muistathan, että Satakunnan taidetoimikunta ja Porin kulttuuriasiainkeskus järjestävät SuomiAreena-tilaisuuden Antinkatu 6:n sisäpihassa, Porin keskustassa perjantaina 15.7. klo 14-15.15. Silloin keskustellaan aiheesta Kenen taidetta viedään?
Tule mukaan!
Juontajana on näyttelijä-toimittaja Sanna Stellan, joka tunnetaan mm. YLE TV 1:n Strada-kulttuuriohjelmasta. Keskustelijoina ovat Näyttelyvaihtokeskus Framen taiteellinen johtaja Laura Köönikkä, Teatterin tiedotuskeskuksen Tinfon johtaja Hanna Helavuori, kansanedustaja Pertti "Veltto" Virtanen ja kulttuuritoimittaja, pamfletisti Antti Järvi.
Voit halutessasi osallistua keskusteluun, sillä mikrofoni kiertää entiseen tapaan yleisön joukossa. Tapahtumaa ryyditetään myös taiteellisella ohjelmalla.
Sisäpiha on varustettu penkein. Sateessa ei kuitenkaan tarvitse istua. Elleivät säät suosi, siirrytään kadun toiselle puolelle sisätiloihin
Lämpimästi tervetuloa!
SATAKUNNAN TAIDETOIMIKUNTA
PORIN KULTTUURIASIAINKESKUS
TAIDELEIRI ELOKUU
Noormarkun Myllykartanossa
5.-7.8.2011
Kulttuuritalo Myllykartano, Finpyyntie 1 B
KOHDERYHMÄ Kaikki taiteen tekemisestä kiinnostuneet, niin vasta-alkajat kuin pidemmälle
ehtineet. Kurssille otetaan maks. 15 osallistujaa.
OPETTAJA Taiteilija Esa Tiainen, Kokkola
Katso lisää osoitteesta http://esatiainen.nfcentral.com/
Perjantai 5.8.klo 10-16
-Maalausleirin avaus
-Materiaalit ja tekniikat: paperit, värit, siveltimet ym., painopiste märkätekniikalla.
-Maiseman maalaus, kuvan sommittelu, valöörit ja kontrastit, värit.
-"Näinkin voi maalata maiseman", näytösmaalaus Tiainen
-omatoiminen työskentely, ohjaus
Lauantai 6.8. klo 9-16
-Maalaamme maisemaa, vaihtoehtoisesti asetelmaa
-Mahdollinen retki Reposaarelle
-Omatoiminen työskentely, ohjaus
-Päivän päätteeksi kritiikki tähänastisista saavutuksista
Sunnuntai 7.8. klo 9-15
Henkilökuvan maalaus (mikäli malli löytyy), muuten maalaamme maisemaa
Kysy tarvikelista asiakaspalvelustamme. Opetuksessa keskitytään akvarelliin,
mutta muitakin tekniikoita voi käyttää.
HINTA ja 250 €, Ilmoittautuminen on sitova. Kysy peruutusehdoista. Ilmoittaudu
ILMOITTAUTUMINEN 28.6.2011 mennessä www.lskesayliopisto.fi, puh. 0201 5584 20 tai
asiakaspalvelu.pori@lskesayliopisto.fi.
www.lskesayliopisto.fi
ESITTÄVÄ TAIDE, YMPÄRISTÖ JA ARKIPÄIVÄ
Hirvitalon heinäkuisessa työpajassa tutkitaan ja kokeillaan, kuinka omasta elämästä ja arjesta voi tehdä esittävää taidetta. Taiteen laajaa skaalaa hyödynnetään performanssitaiteesta ympäristötaiteeseen , kirjoittamiseen ja installaatioon, riippuen työpajan osallistujien kiinnostuksesta.
Työpaja järjestetään kolmen viikon aikana Pispalan nykytaiteen keskuksella Hirvitalolla ja sen läheisyydessä, aina kello 11.00-16.00.
Työpajan päivämäärät:
1. vko ke 13.7.
to 14.7.
2. vko ke 20.7.
to 21.7.
su 23.7.
3.vko ke 26.7.
to 27.7.
Työpajan sisältö:
1 vko
-Tutustuminen, ryhmän toiveista ja ajatuksista keskustelu
-Esityksen perusasioita: improvisaatioharjoituksia. yksinkertaisia esiintymistreenejä, hahmon luomista, esittämistä, äänenkäyttöä ja tekstiä.
-Paikkasidonnaiseen taiteeseen liittyviä harjoituksia ulkona, tilan hahmottamista esitys-sekä kuvataiteen keinoin
2 vko
- hahmon luomista ja tekemistä (future hybrid persona-workshop)
- kuinka luoda narratiivi esitykselle? onko hahmo narratiivi? mitä on performanssi? millaista kokemuksellisuutta esittävä taide tarjoaa?
- Esityksessä käytettävien tekstien tutkimista ja esittämistä; voiko tekstiä tuottaa muuten kuin kirjoittamalla/käsitellä muuten kuin lukemalla, käsikirjoitusta
- Sään suosiessa jatketaan ulkona tekemistä kuten viikolla 1
3 vko
- Esitysten kasaamista, tekstien muokkaamista
Työpajan ohjaajana toimii Teatteri-ilmaisun ohjaaja Jasmin Kailio ja mahdolliset vierailevat ohjaajat.
Ilmoittautumiset: jasmin.kailio@gmail.com, tai ensimmäisellä tapaamiskerralla.
Työpajaan mahtuu 15 osanottajaa ja se on maksuton. Mukaan vaatteet, joissa on helppo liikkua sekä mahdolliset omat eväät (Hirvitalon keittiö on työpajan osallistujien käytössä, talon vieressä sijaitsee myös ruokakauppa)
Tervetuloa!
Pispalan Nykytaiteen Keskus Hirvitalo
Hirvikatu 10, Tahmela
www.hirvikatu10.net
28.6.11
26.6.11
Totaalinen tyhjennys
Avara Taide ry: Hulluja muurahaisia ja muita olioita
Tamperelainen AvaraTaide ry esittäytyy Galleria 3h + k:n uusissa tiloissa osoitteessa Itsenäisyydenkatu 47, 28100 Pori. Näyttely avoinna: 9. – 31.7.2011, ke – pe 13 – 18, la – su 12 – 16. Avajaiset perjantaina 8.7.2011 klo 18. Tervetuloa!
21.6.11
13x
8. heinäkuuta 2011 kello 19:00 - 30. heinäkuuta kello 18:00
Isolinnankatu 19
Pori, Finland
Sabotanic Garden: Nykypaini-esitys / Contemporary Wrestling Performance
20. heinäkuuta 2011 · 18:30 - 20:00
Porin taidemuseo / Pori Art Museum
Eteläranta
28100 Pori
Platform Live
KUNTSIn modernin taiteen museo
Sisäsatama
Vaasa, Finland
PLATFORM LIVE
Wednesday June 22, 7-10pm at Kuntsi Museum of Modern Art.
(Sisäsatama, Vaasa)
Free entrance. Welcome!
PLATFORM LIVE
Wednesday June 22, 7-10pm at Kuntsi Museum of Modern Art.
(Sisäsatama, Vaasa)
Free entrance. Welcome!
16.6.11
Judo of Art - Taide ja tottelemattomuus työpaja
27.6.-2.7.2011Hirvitalo, Hirvikatu 10, Pispala, Tampere
Pispalan kulttuuriyhdistys ja Hirvitalo järjestää pääasiassa taiteilijoille ja aktivisteille tarkoitetun ainutlaatuisen Taide - Tottelemattomuus työpajan 27.6.-2.7. Hirvitalolla, Tampereen
Pispalassa.
Työpajassa perehdytään poliittisen taiteen mahdollisuuksiin judon, tottelemattomuuden, performanssin, kehon sekä yhteiskuntakritiikin kautta tarkoituksena avata uusia käytännöllisiä
toimintamahdollisuuksia poliittiselle taiteelle sekä siitä ammentavalle aktivismille.
Työpajaan on kutsuttu kiinnostavia tottelemattomuuden ja poliittisen taiteen kouluttajia ja luennoitsijoita Suomen lisäksi Ranskasta sekä Venäjältä.
TYÖPAJA ON MAKSUTON.
Tampereen ulkopuolelta tulijoille on mahdollisuus tiipii-/telttamajoitukseen Tahmelan taidelehdossa - siis teltta ja makuupussi mukaan. Myös muutamia sisämajoituksia tarjolla
yksityisasunnoissa ympäri Tamperetta. Ruokailu on järjestetty. Hirvitalolla ja se maksaa 3€/päivä. Osallistujien toivotaan varautuvan vapaaehtoiseen osallistumismaksuun, jolla katetaan työpajan järjestely- ja matkakuluja.
Ennakkoilmoittautumiset 25.6. mennessä
teemu.takatalo@gmail.com
Ole nopea, työpajaan otetaan rajattu määrä osallistujia.
---
ALUSTAVA OHJELMA:
(huom. muutokset mahdollisia)
*
Maanantai 27.6. klo 10-
JUDO
Timo Lepistö
Kevyt johdatus judoon ja sen aatehistoriaan. Timo Lepistö on tutkinut judon aatehistoriaa sekä opettaa judoa Porvoossa Shirokawa seurassa.
Klo 17-
KEHON POLITIIKKA
Elina Niinivaara
Valta kohdistuu kehoon ja keho on (tai ainakin voi olla) vastarinnan tekemisen väline. Kehon ja politiikan välistä suhdetta avaa antropologi Elina Niinivaara, joka on tutkinut mm. argentiinalaisten murgaryhmien poliittisesti kriittistä tanssikulttuuria sekä laajemmin kehoa tottelemattomuuden, kurin ja vallan maaperänä.
*
Tiistai 28.6. ja keskiviikko 29.6. klo 10-
VÄKiVALLATON TOTTELEMATTOMUUS & SUORA TOIMINTA
Xavier Renou (Ranska)
(opetuskieli englanti)
Kahden päivän tottelemattomuus osion aikana käydään läpi tottelemattomuuden teoriaa ja taktiikoita sekä perehdytään onnistuneen tottelemattomuuskampanjan järjestämiseen. Kurssin vetäjä Ranskalainen Xavier Renou on julkaissut käsikirjan tottelemattomuudesta ja on
Désobéissants-ryhmän jäsen (http://www.desobeir.net/). Hän on vetänyt lukuisia työpajoja tottelemattomuudesta ympäri maailmaa sekä osallistunut erilaisiin suoran toiminnan aktioihin mm. Ranskassa, Englannissa ja Saksassa.
VIDEOITA
Keskiviikko iltana katsotaan työpajan teemaan liittyviä videoita.
*
Torstai 30.6. klo 11-
POLIITTINEN TAIDE JA TAITEEN POLITIIKKA
alustus Antti Salminen
68-liikeet, situationismi, lettrismi, historiallinen avantgarde, marxismi, anarkismi sekä uudet yhteiskuntakriittiset liikkeet. Antti Salminen on Tampereen yliopistossa työskentelevä tutkija, jonka erikoisalaa ovat poliittisen avantgarden/kokeellisen taiteen
suuntaukset.
*
Perjantai 1.7. klo 11-
PERFORMANSSI
Aapo Korkeaoja
Performanssitaide, poliittinen performanssi, teoriaa ja käytäntöä. Aapo Korkeaoja on performanssitaiteilija ja opettaa Kankaanpään taidekoulussa esitystaidetta.
Illalla Rajaportin saunaan(6€) ja Pispalan yöhön.
*
Lauantai 2.7. klo 11-
TAIDE - TOTTELEMATTOMUUS - VENÄJÄ
Voina-ryhmä (Venäjä)
(luento ja keskustelu englanniksi)
Venäläinen taiteilija-aktivistiryhmä Voina esittelee ryhmän radikaalia poliittista taidetta sekä Venäjän poliittista tilannetta. (http://en.free-voina.org/)
VOINA-näyttelyn avajaiset klo 18.00
*
Sunnuntai 3.7. klo 12-
Jälkilöylyt ja rääppiäiset Hirvitalolla. Sauna mahdollisuus.
ANTI Festival
27.9. - 2.10.2011 järjestettävä ANTI - Contemporary Art Festival juhlii 10-vuotista taivaltaan monipuolisella, aina haastavalla ja yllättävällä ohjelmistollaan. Ympäri maailmaa ANTI-festivaalin kotina tunnettu Kuopio ja sen ympäristö täyttyy jälleen tuoreella, ajassaan edellä olevalla kaupunkitiloihin levittäytyvällä nykytaiteella. Juhlavuoden festivaalilla mukana ovat muun muassa lukuisia kertoja palkittu brittiläinen Blast Theory sekä kanadalainen Mammalian Diving Reflex. Residenssitaiteilijana työskentelee suomalainen Heidi Fast. Lisäksi festivaali julkaisee juhlavuoden kunniaksi kirjan.
T.E.H.D.A.S. ry sanoo: Onnittelua!
14.6.11
Call for Application | PANic 3 - Performance as Documentation
Who performs (live) is inevitably confronted with the issue of documentation. Still, photography and video, are the main mediums in terms of the documentation of live performances. However, shortcomings result in the translation of the live event to another medium, whether digital or analog type. The complexity of various performances can not just be preserved by saving the visual and auditory moments. Therefore, many artists understand the documentation not only as a preservation of a past event, but give a new and important meaning to the documentation itself. Exactly at this point, our interest starts. If the circuit of documentation is not stopped in the need for preservation, but gets into a self-sufficient process, the documentation becomes the protagonist and the protagonist will turn into another performer. Either the performative work is inseparable from its documentation - or the documentation is an independent part that is able to create a new presence. For the purposes of the One-Night-Show „PANic 3 - Performance as Documentation“ organized by the Vienna Performance Art Network (PAN Vienna) we are looking for live performances, which
1. transform theories on documentation of performance artistically.
2. use a true or fictional narrative to represent their performance.
3. have the issue of documentation as a necessity or contingency as a part of the performance.
Four performances will presented during the One-night-show „PANic 3 - Performance as
Documentation“ in September 2011 in Vienna. Artist Remuneration, travel allowance and
accommodation will be paid.
Please send your proposals incl. 2-3 work samples till July 5th by email to:
twgeiger@gmx.net or veronika.merklein@gmail.com
For further information: http://pan-vienna.at/
(only German version available yet)
ACTIVE STILL LIFES by Mimosa Pale & Jukka Rusanen
ACTIVE STILL LIFES Performatiivinen asetelma - Performative Installation by Mimosa Pale & Jukka Rusanen 27.8. - 4.9.2011 Open Wednesday to Sunday 12 noon to 7pm Daily performance at 6pm Welcome to the opening during the Night of Arts/ Taiteiden Yö 26.8. at 7-9pm Audio Visual Noise by Pöyhönen//Pettersson at 8pm |
13.6.11
Kun taide on vain kirsikka kakussa | Demos
Kun taide on vain kirsikka kakussa | Demos: "Hollannissa kulttuurista leikataan nyt kyselemättä ja kovaa. Jyrän alle jää epäselvä, pieni ja kokeileva. Hollantilaisten meno näyttää, että kun kulttuuri menettää yhteytensä kansalaisiin ja vallanpitäjiin, talouspaineessa jäljelle jäävät vain perinnettä ylläpitävät mastodontit."
Näkymä 2011
18 June at 13:00 - 18 August at 00:00
Akaa, Finland
"TaideAkaa ry järjestää yhdessä Akaan kaupungin kulttuuripalveluiden kanssa 9. kerran julkisen taiteen Näkymä-näyttelyn. Teokset ovat koettavina Akaan ympäristössä kaksi kuukautta."
12.6.11
Validi Sekmentti: Abstrax - Elävämmän musiikin klubi IX
17. kesäkuuta 2011 kello 21:00 - 18. kesäkuuta kello 1:00
Galleria 3H+K
Maaherrankatu 32
Radio Hearin kesäyölähetys!
YÖLÄHETYKSET jatkuvat Madekoski Studioilta Jyväskylästä sunnuntaisin noin kello 21 alkaen! Kanavana kesällä 2011 Radio Hear ja ohjelmat ovat välillä suoria, välillä menneiden kesien Järviradion yölähetysten toisintoja.
10.6.11
OPENING PARTY: JUKKA HUHTALA
10. kesäkuuta 2011 · 18:00 - 21:00
GalleriaKONE
Verkatehdas, Paasikiventie 2
Hämeenlinna, Finland
Andy Goldsworthy avajaiset / opening
Andy Goldsworthy 10.06.–11.09.2011 Halli
· Kuraattoripuheenvuoro perjantaina 10.06.2011 kello 12.00.
· Näyttelyn avajaiset perjantaina 10.06.2011 kello 18.00.
· Andy Goldsworthyn luento Ateneumin taidemuseossa (Helsinki) 11.06.2011 kello 15.00, vapaa pääsy. Tervetuloa!
8.6.11
Juggling Jugulars, Abortti 13, Yliannostus @ 3H+K
10.6.2011, klo21:00 - 23:30
Maaherrankatu 32, Pori
7.6.11
" Jos ei heilaa helluntaina " Postmoderni Helluntaijuhla
" Jos ei heilaa helluntaina " Postmoderni Helluntaijuhla
”Jos ei heilaa Helluntaina...” Postmoderni Helluntaijuhla 12.6.2011 Porvoossa Piirakkakerho on vuonna 2006 perustettu taiteilijaryhmä, joka koostuu vaihtelevasta joukosta kuvanveistäjiä. |
31.5.11
Kolmas ulottuvuus - Heidi Kestin ja Laura Lehenkarin veistoksia
Kolmas ulottuvuus" - Heidi Kestin ja Laura Lehenkarin veistoksia Kuivurigalleriassa 4.6. - 31.8.2011
Näyttelyn avajaiset perjantaina 3.6. klo 18 - 20, tervetuloa!
Bussikuljetus Loimaan keskustasta (tori) klo 17.45 - paluu 20.00
30.5.11
Interested to stream your event(s) online?
Tutorial:
1. Invest in a good microphone.
2. Use a tripod.
3. When using a computer look for 2MB out connection. (If on mobile 3G network will do).
4. Call 0505729743 and I'll give you tips and passwords to use our channel.
5. Remember to take the necessary extension cords and transducers with you.
(Connections as low as 0.22MB has been tested and proofed to work.. You however need to lower the image quality).
Our Channel.
The Culture Events live channel on http://www.tehdasry.fi/live page is intended for streaming video from culture events from Finland and beyond. As an initiative of artist/curator Janne Rahkila 2008 it was originally designed to show the Perfo - Performance events, held four times a year at Telakka (Tampere) and now it has expanded to meet the needs of Perf festival and events hosted at 3h + k (Pori). Experiments with the same software and equipment have been made around Finland in events like the Blacksmith Festival Rautasulka, Alkovi Gallery openings and projects in Helsinki and Satellite Platform discussion events held in Hämeenkyrö etc.
The site is embedded with two separate channels both are made using the Swedish bambuser.com service. When the streaming project begun 2008 only one feed was broadcasted. At that time we used the now dead floobs.com service. Now the page is embedded with two separate simultaneous broadcasts which cover happenings from different angles. This is a milestone for the project. Broadcasting two separate streams of the same events helps us with stability issues. As we often work with unreliable internet connections this solution ensures that at least the other stream will stay healthy. The other stream is handled over the mobile-phone network and the second trough wifi/router. Also the nature of live-arts is better served by providing two (or more) viewpoints of the happenings. For artist talks and such the other stream may show closeups on slides the presenter uses while the other focuses on the presentation, for music gigs the second may show the work of the VJ while the other covers the music. Using two iframed channels on one page we also have the possibility to broadcast feeds from two separate events or locations at the same time or to combine pre-recorded material with a live material. For audience feedback we use a shout-box which runs independently from the stream. All of the services in use are free and the costs of streaming are low. At minimum you need a computer with a webcam, access to internet and you are good to prod-use.
The culture events live channel is currently hosting mostly performance events but will meet the needs of other culture events if requested. You may also load the page html/css to get started on your own system but please consider using our site for your events. We hope to develop it into a cross-disciplinary broadcasting channel which will collect the scarcely streamed culture events behind one fixed URL. We hope to develop the site into a hub which will collect an audience base and a semi planned broadcasting schedule. If you are already streaming events you organize please consider joining our efforts. There is strength in groups. We are looking for grassroots organizations working for free and open culture events, discussions on creative practices, ecology and peer-society. We do not store the stream online due to copyright issues and also because we hope to maintain the spirit of the live event. Please bare this policy in mind if you are considering to hook up with us. The stream you send may later on be downloaded from the service providers servers and you may transfer this recording on your own site/channel.
All the necessary information on how to get started is found in this text and on the http://www.tehdasry.fi/live site and please don't hesitate to ask for face-to-face consulting regarding the art of streaming video and technical pointers. The image here shows the streaming system used at Perfo - Telakka. The current recommendation system we use is simpler. Rest assured it is a one wo/man job suitable for a person with only basic experience with computers. In the current system we use the DV-camera both for the streaming and for documenting the event. The system kills to birds with one stone: Broadcasting while documenting.
Idea.
Not an event goes past with out me ending seriously questioning our efforts to stream performance art and other culture happenings. My biggest concern is that edited video analyzing happenings would be more fruitful to view then raw live video... Yet every time Perfo is organized or I'm invited somewhere else I'm tweaking the system and talking about it's development non-stop. As a reward for our efforts we have build a regular audience base and on an average broadcasts gather 60 viewers. At it's peak we Perfo has had 327 viewers for a single stream, at it's lowest only some 15 viewers have bothered to stay tuned. These statistics come from the host service but unfortunately it is not know how long individual viewers stay tuned, how many times they refresh the browser (which is the service counts as a new viewer) nor is it known who the viewers are socially or geographically. Data is limited but discussions with friends on the sites shout-box and chats have given some insight on viewer experiences. Most viewers enjoy the stream and people use it to check out a happening before coming to the site. It functions as an online lighthouse guiding people to the event and generally stating that we are alive, kicking and doing it publicly!
In the early days people gathered around the camera and send their greeting back home. Artists asked for the URL of the stream as they wanted to show their friends what they are up to. Particularity foreign artist were psyched about the possibility share the stream to colleagues back home. The moment they begun performing direct links to their facebook wall/etc social media sites where shared. At that time we only used one camera which was pointed at the computer monitor displaying event info when there was a break in the show. Those days we didn't use a site where the channel(s) was embedded so people had to find the URL from the bambuser.com service. URLs where changed for every broadcast and embedding the stream inside a fixed site has solved these issues. This development has also made me consider the system more as "a channel" with it's own culture, traditions and ideological viewpoint.
Web 2.0 media sharing sites have become important channels to share news and events which groups working on counter-culture projects produce. Such groups have a strong foothold in the social media sphere but we need to remind our self's that the struggle to stay visible online requires active work. National media companies like YLE of Finland are already researching how to use the same services we work with. In time they will start to produce content which may be used to determine us from their institutional perspective. I'm sure we can learn from each other but before we reach for dialogue we should develop our understanding of streaming media and build systems and tweak them to work as we need them to, so that when we start to barter we'll have more chips (knowledge, followers, experience and professional assets) on the table.
The general fear is that the plurality of online content is threatened as national and business institutions with gigantic funding for marketing lure viewers to their channels. The majority of the content they produce force viewers into ideological positions which serve the current political and economical regime. By default their normative, aesthetically and politically narrow media strategies position mixed cultural activities to the "marginal" in hopes to preserve status quo. Every broadcast we make is noise which affects the processes on how cultural movements are defined and we need to keep making noise. If you do an online search for "counter-culture" do you want interested parties to see BBC documentaries defining such movements as historical projects or would you like them to see events happening live? Live presence online is needed to ensure that we will be able to use these tools in the future.
Execution.
Benefits of streaming performance events.
The following part is intended especially for people interested in streaming performance-art events but might proof interesting for others too. It tells a little bit how the camera affects live situations, reflects my personal views on streaming and gives some insight on the evolution of the system we now use.
I was personally introduced to the art of streaming by the late Simon Häfele of sonance.artist.network (http://evolve.sonance.net/). He had already 1998 build a server system (emails, subdomain websites, streams, storage etc.) which multiple artist in Vienna used to promote and host their events on. Their system is build on open source software and run by the community which uses it. As we where making a durational (24h) performance happening with the "Temporary A/B Ensemble" at the Draakoni Gallery in Tallinn the idea of streaming the event online was discussed. As the performance was so long the idea of opening the site for audiences around the globe was introduced as a method of keeping us as performers constantly aware of our actions being visible and public. So even if the good folks of Tallinn where a sleep there might always be someone watching us and evaluating our actions. The idea was influenced by the work of Estonian artist group Non-Grata which had used a monitor placed outside the performance space to share actions from inside. Live video running simultaniously with live events reallocates the viewers gaze and enables viewer to analyze the performers non-verbal communication (etc.) with out engaging in communication them self's.
I feel that streaming events works best for long site-specific minimalistic performances.
The stream opens performance art for new audiences and lures people to the event. It will never replace the experience of being actually present but it provides audiences the opportunity to take part/support an event even if they do not have the opportunity to visit it. Culture institutions hope that streaming their events will enable them to be more "accessible" and for grant applications, sponsors etc. offering the possibility for audiences to view your event online is possibly a luring catchphrase. This is a typical sales speech on why it's good to stream your event but there are other benefits too.
You might instinctively feel that the nature of performance art is such that providing a live stream does not serve the point. Such events are intended for live audiences, for real life flesh and blood bodies sharing an experience. This is true. But critically speaking there are already so many cameras at live-art events that the illusion that things are live has been shattered. Performers work for the camera and this shapes the nature on performance art. It is only honest to admit that artist produce "images using their bodies" precisely because they want to look good in still photos which will later on to be posted on facebook, catalogues and portfolios. There is nothing wrong with this it is just that we have become so skilled in posing that our skills have turned agains the nature of live-art. Artist are more concerned with the documentation then of the audience. This fixation on photographic (and later video) documentation comes from the art forms gene pool – Conceptual art is primarily produced for catalogues and documentations are used as proof of consept. It is however NOT mandatory to produce documentations during a performance... Artists (like Vito Acconci) are known to have staged documentations after a happening has ended and solutions like this should be seriously considered.
Live streaming is a great tool to hinge performers out of their comfort zone. Every moment of the event is streamed so a performer has to consider all of their actions to be visible. The "money shot logic" of a still image showing the most dramatic sequence of a performance does not apply when the entire event with it's preparations, audience reactions is also shown. The presence of "the internet audience" superimposes the artists a feeling that audiences which they are unable to control will evaluate their gestures critically. The stream embodies the idea of the other. An artist is pointed by a camera which streams events for unspecified and radically different audiences. A camera streaming online becomes a representative of audiences which you cannot seduce by editing your afterimage. This is a great challenge. If there is to be only one camera at a performance event this camera should be the one broadcasting.
Still images and video have been used to proof that a performance has actually taken place. As evidence that something has truly happened but such images are no longer needed as proof. A camera streaming an event is not an other camera on site it is the ideologically correct tool to compensate on the over abundance of documentation technology currently present in performance events.
Streaming performances also haves some pedagogical benefits. Fresh generations of performance artist need not browse trough ubu.com/ archives, download torrents from karagarga.net/ or wonder trough youtube and vimeo in search of inspiration and understanding for their work. Instead they could simply tune in and find their peers performing live. They may also stream their own events online using the same channel/venue. The place where a live camera is mounted automatically creates a venue around it's self and this venue may be reproduced anywhere in the world. People start behaving more cautiously in the presence of a live-camera as they become aware of their gestures being visible. Also for building confidence as a performer an stream online is a easy first step.
When working with live streams it does not help if the broadcast is streamed trough a 100mb connection as people viewing it will anyways see it compressed and optimized for low bandwidth connections. But I don't think image quality is a problem. Rough image gives events a sense that they are really live and differentiates us from mainstream medias. If we'd be working to produce HD-quality streams we'd be in the same category as all the other TV channels and if the image quality is close to standardized TV people begin to expect TV like structures from the stream. To replicate such quality is not necessary as we are not orchestrating an event into a studio setting, we are adapting into the site as it changes. The current robust system we have designed can handle changes, mood-swings of performers and surprises during a happening better then conventional TV-broadcasting tools do. The radical idea of broadcasting two separate feed from the same event is an example of such developments. Also the sizes of cameras we use are smaller and seemingly less professional which helps people act more relaxed in their presence. Creating streams in DV or HD quality is seducing but I don't think that aiming for image quality serves alternative culture events like Perfo.
List of "free" services for streaming:
http://www.bambuser.com, http://www.ustream.tv/, http://qik.com/
Resulsseja Suomeksi:
Opas mobiilivideo streemaamiseen.
http://softaajarautaa.blogspot.com/
Oppaita mediatuotantoon avoimen lähdekoodin ohjelmilla.
http://fi-new.flossmanuals.net/
Opas avoimeen media tuotantoon: http://fi-new.flossmanuals.net/avoin-mediatuotanto/index
Yleläisten ajatuksia tulevaisuuden toimittamisesta:
"Sari" (live-lähetysten mielekkyydestä): http://socialwebtoolsyle.posterous.com/livena-verkossa-vai-miten-haluatte
SOMA on Ylen ja Metropolian yhteinen kurssi sosiaalisen median hyödyntämisestä.
http://somakoulutus.posterous.com/
Isällinen toimittaja neuvoo nuorisoa toimittamaan.
http://atuubi.yle.fi/videot_ja_kuvat/id-100377
Atuubi luo lupauksia kansalais jounalismista mutta suodattaa yleisön tarjontaa valikoimalla näytettävät ohjelmat. Sopivuuteen vaikuttaa ehdotta aihe, tapa käsitellä aihetta sekä ohjelman laatu. Toimittamasi materiaali voidaan käytetään ilmoittamatta ja korvaamatta televisio ohjelmien insertteinä.
Suomen perinteikkäin ja vanhin verkkoradio:
http://www.hear.fi/
Resources in English:
Testing of mobile video streaming services (great post with latency tests etc.)
http://mobile-streaming.blogspot.com/
Regarding Bambuser mobile streaming.
http://www.open.ac.uk/blogs/otih/?p=167
YLE - National broadcasting Company on Bambuser etc.
Round 1.
http://blog.bambuser.com/2010/01/bambuser-signs-finnish-public-service.html
Yles biggest project for crowd sourcing (nifty slogan on page reads: squeeze your stuff to the atube.)
http://atuubi.yle.fi/laheta_video_tai_kuva
Atubis progress on Dipity:
http://www.dipity.com/Atuubi/personal/map#timeline
"The generic esthetics of performance documentations and visual representations include": (Thread started by Alexandra Smirnoff collected by Verena Stenke Pagnes):
http://www.facebook.com/notes (You need to log on to Facebook to see this)
On Glitch
"A glitch is like the wind blowing through a speaker's hair. A glitch injects lived affect into the live utterance. Glitches arises from the immanent "world." (According to Heidegger, "the world" consists of things connected to other things within being.) Of course, once we digitize and increasingly "mediate" our human language, then the coughing, sputtering, extra-semiotic forces of the world can more readily (and radically/rootedly) modulate our language, at increasingly deeper and more fine-grained structural levels. The static of the world gets trapped in our mouths."
Curt Cloninger. GltchLnguistx: The Machine in the Ghost / Static Trapped in Mouths (2010)
http://lab404.com/glitch/
Software:
Use mobile phone as a webcam over bluetooth etc. (Mac - Etc.)
http://www.movino.org/
Patch audio between software (Mac - ?)
http://cycling74.com/products/soundflower/
FMLE Media encoder (Mac - PC - ?)
http://www.adobe.com/products/flashmediaserver/flashmediaencoder/
"Camtwist". Mix video sources, effects and movies live (Mac)
http://allocinit.com
Other:
Helsinki based local TV
http://www.m2hz.net
Where the Counterculture Prevails - Peter Coyote
http://www.youtube.com/watch?v=zV3qLXhmSLQ
Pixelache presentation (2009) by Sara Sajjad of The Piratebay and others
http://vimeo.com/3998605
1. Invest in a good microphone.
2. Use a tripod.
3. When using a computer look for 2MB out connection. (If on mobile 3G network will do).
4. Call 0505729743 and I'll give you tips and passwords to use our channel.
5. Remember to take the necessary extension cords and transducers with you.
(Connections as low as 0.22MB has been tested and proofed to work.. You however need to lower the image quality).
Our Channel.
The Culture Events live channel on http://www.tehdasry.fi/live page is intended for streaming video from culture events from Finland and beyond. As an initiative of artist/curator Janne Rahkila 2008 it was originally designed to show the Perfo - Performance events, held four times a year at Telakka (Tampere) and now it has expanded to meet the needs of Perf festival and events hosted at 3h + k (Pori). Experiments with the same software and equipment have been made around Finland in events like the Blacksmith Festival Rautasulka, Alkovi Gallery openings and projects in Helsinki and Satellite Platform discussion events held in Hämeenkyrö etc.
The site is embedded with two separate channels both are made using the Swedish bambuser.com service. When the streaming project begun 2008 only one feed was broadcasted. At that time we used the now dead floobs.com service. Now the page is embedded with two separate simultaneous broadcasts which cover happenings from different angles. This is a milestone for the project. Broadcasting two separate streams of the same events helps us with stability issues. As we often work with unreliable internet connections this solution ensures that at least the other stream will stay healthy. The other stream is handled over the mobile-phone network and the second trough wifi/router. Also the nature of live-arts is better served by providing two (or more) viewpoints of the happenings. For artist talks and such the other stream may show closeups on slides the presenter uses while the other focuses on the presentation, for music gigs the second may show the work of the VJ while the other covers the music. Using two iframed channels on one page we also have the possibility to broadcast feeds from two separate events or locations at the same time or to combine pre-recorded material with a live material. For audience feedback we use a shout-box which runs independently from the stream. All of the services in use are free and the costs of streaming are low. At minimum you need a computer with a webcam, access to internet and you are good to prod-use.
The culture events live channel is currently hosting mostly performance events but will meet the needs of other culture events if requested. You may also load the page html/css to get started on your own system but please consider using our site for your events. We hope to develop it into a cross-disciplinary broadcasting channel which will collect the scarcely streamed culture events behind one fixed URL. We hope to develop the site into a hub which will collect an audience base and a semi planned broadcasting schedule. If you are already streaming events you organize please consider joining our efforts. There is strength in groups. We are looking for grassroots organizations working for free and open culture events, discussions on creative practices, ecology and peer-society. We do not store the stream online due to copyright issues and also because we hope to maintain the spirit of the live event. Please bare this policy in mind if you are considering to hook up with us. The stream you send may later on be downloaded from the service providers servers and you may transfer this recording on your own site/channel.
All the necessary information on how to get started is found in this text and on the http://www.tehdasry.fi/live site and please don't hesitate to ask for face-to-face consulting regarding the art of streaming video and technical pointers. The image here shows the streaming system used at Perfo - Telakka. The current recommendation system we use is simpler. Rest assured it is a one wo/man job suitable for a person with only basic experience with computers. In the current system we use the DV-camera both for the streaming and for documenting the event. The system kills to birds with one stone: Broadcasting while documenting.
Idea.Not an event goes past with out me ending seriously questioning our efforts to stream performance art and other culture happenings. My biggest concern is that edited video analyzing happenings would be more fruitful to view then raw live video... Yet every time Perfo is organized or I'm invited somewhere else I'm tweaking the system and talking about it's development non-stop. As a reward for our efforts we have build a regular audience base and on an average broadcasts gather 60 viewers. At it's peak we Perfo has had 327 viewers for a single stream, at it's lowest only some 15 viewers have bothered to stay tuned. These statistics come from the host service but unfortunately it is not know how long individual viewers stay tuned, how many times they refresh the browser (which is the service counts as a new viewer) nor is it known who the viewers are socially or geographically. Data is limited but discussions with friends on the sites shout-box and chats have given some insight on viewer experiences. Most viewers enjoy the stream and people use it to check out a happening before coming to the site. It functions as an online lighthouse guiding people to the event and generally stating that we are alive, kicking and doing it publicly!
In the early days people gathered around the camera and send their greeting back home. Artists asked for the URL of the stream as they wanted to show their friends what they are up to. Particularity foreign artist were psyched about the possibility share the stream to colleagues back home. The moment they begun performing direct links to their facebook wall/etc social media sites where shared. At that time we only used one camera which was pointed at the computer monitor displaying event info when there was a break in the show. Those days we didn't use a site where the channel(s) was embedded so people had to find the URL from the bambuser.com service. URLs where changed for every broadcast and embedding the stream inside a fixed site has solved these issues. This development has also made me consider the system more as "a channel" with it's own culture, traditions and ideological viewpoint.
Web 2.0 media sharing sites have become important channels to share news and events which groups working on counter-culture projects produce. Such groups have a strong foothold in the social media sphere but we need to remind our self's that the struggle to stay visible online requires active work. National media companies like YLE of Finland are already researching how to use the same services we work with. In time they will start to produce content which may be used to determine us from their institutional perspective. I'm sure we can learn from each other but before we reach for dialogue we should develop our understanding of streaming media and build systems and tweak them to work as we need them to, so that when we start to barter we'll have more chips (knowledge, followers, experience and professional assets) on the table.
The general fear is that the plurality of online content is threatened as national and business institutions with gigantic funding for marketing lure viewers to their channels. The majority of the content they produce force viewers into ideological positions which serve the current political and economical regime. By default their normative, aesthetically and politically narrow media strategies position mixed cultural activities to the "marginal" in hopes to preserve status quo. Every broadcast we make is noise which affects the processes on how cultural movements are defined and we need to keep making noise. If you do an online search for "counter-culture" do you want interested parties to see BBC documentaries defining such movements as historical projects or would you like them to see events happening live? Live presence online is needed to ensure that we will be able to use these tools in the future.
Execution.The following part is intended especially for people interested in streaming performance-art events but might proof interesting for others too. It tells a little bit how the camera affects live situations, reflects my personal views on streaming and gives some insight on the evolution of the system we now use.
I was personally introduced to the art of streaming by the late Simon Häfele of sonance.artist.network (http://evolve.sonance.net/). He had already 1998 build a server system (emails, subdomain websites, streams, storage etc.) which multiple artist in Vienna used to promote and host their events on. Their system is build on open source software and run by the community which uses it. As we where making a durational (24h) performance happening with the "Temporary A/B Ensemble" at the Draakoni Gallery in Tallinn the idea of streaming the event online was discussed. As the performance was so long the idea of opening the site for audiences around the globe was introduced as a method of keeping us as performers constantly aware of our actions being visible and public. So even if the good folks of Tallinn where a sleep there might always be someone watching us and evaluating our actions. The idea was influenced by the work of Estonian artist group Non-Grata which had used a monitor placed outside the performance space to share actions from inside. Live video running simultaniously with live events reallocates the viewers gaze and enables viewer to analyze the performers non-verbal communication (etc.) with out engaging in communication them self's.
I feel that streaming events works best for long site-specific minimalistic performances.
Photo by A. Harmaala, showing live stream of seven day long Heroes of Art performance.
You might instinctively feel that the nature of performance art is such that providing a live stream does not serve the point. Such events are intended for live audiences, for real life flesh and blood bodies sharing an experience. This is true. But critically speaking there are already so many cameras at live-art events that the illusion that things are live has been shattered. Performers work for the camera and this shapes the nature on performance art. It is only honest to admit that artist produce "images using their bodies" precisely because they want to look good in still photos which will later on to be posted on facebook, catalogues and portfolios. There is nothing wrong with this it is just that we have become so skilled in posing that our skills have turned agains the nature of live-art. Artist are more concerned with the documentation then of the audience. This fixation on photographic (and later video) documentation comes from the art forms gene pool – Conceptual art is primarily produced for catalogues and documentations are used as proof of consept. It is however NOT mandatory to produce documentations during a performance... Artists (like Vito Acconci) are known to have staged documentations after a happening has ended and solutions like this should be seriously considered.
“Documentation is not a neutral list of facts. It is the conceptual creation of events after they are over.” (Eleanor Antin).With this in mind I think we should force ourselves to think critically on how to document performance art. Digital cameras have been capable to produce near same quality images for ten years now and it is impossible to determine from which era still photos are from. The gruesome reality is that they all look the same and the only way you may see time passing is when you recognize a particular artists aging. Try something different. There are bound to be art students with strong live drawing backgrounds in the audience, why not apply their skills for documenting the event or audio recordings, 3D animation etc etc.
Live streaming is a great tool to hinge performers out of their comfort zone. Every moment of the event is streamed so a performer has to consider all of their actions to be visible. The "money shot logic" of a still image showing the most dramatic sequence of a performance does not apply when the entire event with it's preparations, audience reactions is also shown. The presence of "the internet audience" superimposes the artists a feeling that audiences which they are unable to control will evaluate their gestures critically. The stream embodies the idea of the other. An artist is pointed by a camera which streams events for unspecified and radically different audiences. A camera streaming online becomes a representative of audiences which you cannot seduce by editing your afterimage. This is a great challenge. If there is to be only one camera at a performance event this camera should be the one broadcasting.
Still images and video have been used to proof that a performance has actually taken place. As evidence that something has truly happened but such images are no longer needed as proof. A camera streaming an event is not an other camera on site it is the ideologically correct tool to compensate on the over abundance of documentation technology currently present in performance events.
Streaming performances also haves some pedagogical benefits. Fresh generations of performance artist need not browse trough ubu.com/ archives, download torrents from karagarga.net/ or wonder trough youtube and vimeo in search of inspiration and understanding for their work. Instead they could simply tune in and find their peers performing live. They may also stream their own events online using the same channel/venue. The place where a live camera is mounted automatically creates a venue around it's self and this venue may be reproduced anywhere in the world. People start behaving more cautiously in the presence of a live-camera as they become aware of their gestures being visible. Also for building confidence as a performer an stream online is a easy first step.
Aesthetics of streaming video.Screenshot of Perf11 stream. http://www.tehdasry.fi/live at work. On the right first time performer Elena Nestorova preparing for her performance at 3h +k. On the left Non Grata doing their thing at Viikkarin Kyläjuhlat.
When working with live streams it does not help if the broadcast is streamed trough a 100mb connection as people viewing it will anyways see it compressed and optimized for low bandwidth connections. But I don't think image quality is a problem. Rough image gives events a sense that they are really live and differentiates us from mainstream medias. If we'd be working to produce HD-quality streams we'd be in the same category as all the other TV channels and if the image quality is close to standardized TV people begin to expect TV like structures from the stream. To replicate such quality is not necessary as we are not orchestrating an event into a studio setting, we are adapting into the site as it changes. The current robust system we have designed can handle changes, mood-swings of performers and surprises during a happening better then conventional TV-broadcasting tools do. The radical idea of broadcasting two separate feed from the same event is an example of such developments. Also the sizes of cameras we use are smaller and seemingly less professional which helps people act more relaxed in their presence. Creating streams in DV or HD quality is seducing but I don't think that aiming for image quality serves alternative culture events like Perfo.
Glitch serves live online events well.The quality of the image and camerawork have to serve the spirit of the happening. I'm pretty convinced that lifelines is not enhanced by producing "life-like images" (true HD true COLORS true 5.1), the construction of such illusions has been made vain by early 1900 impressionist. I feel that the liveliness of live events is in the element of danger, non-censuring mistakes made by the performer(s), pushing the camera operator outside her/his comfort zone and working with hazardous technical devices and beta-software. Such explorations inevitably results to glitches. Which is good. Pixelated image stresses the eyes and demands a different logic of viewing. Watching something aesthetically unpleasant forces the viewers to make sense of things them self's. A "new media gaze" is being crafted. People on computers consume different sorts of media on the screen simultaneously. The textual elements of a performance (placed on the shout box or webpage) might be read during a pause in stream or the viewer might engage in a chat. There is currently no data on how or what people watch during a live stream. The viewer logic is being constructed based on what we offer.
My name is Eero Yli-Vakkuri contact me if you want to set the stream up on the Tehdas ry site. Thanks for m2hz.net producer Emmi Vainio, Helsinki based artist Timo Bredenberg, Janne Rahkila and Antti Pedrozo for ideas, technical pointer and inspiration.System used at Rautasulka Blacksmith festival 2010. Left computer showing a "road-trip movie" of Blacksmiths talking about their craft. Movie was made on route to the festival. Right computer streaming material online. Computers covered with plastic to protect it from dust formed by forging.
List of "free" services for streaming:
http://www.bambuser.com, http://www.ustream.tv/, http://qik.com/
Resulsseja Suomeksi:
Opas mobiilivideo streemaamiseen.
http://softaajarautaa.blogspot.com/
Oppaita mediatuotantoon avoimen lähdekoodin ohjelmilla.
http://fi-new.flossmanuals.net/
Opas avoimeen media tuotantoon: http://fi-new.flossmanuals.net/avoin-mediatuotanto/index
Yleläisten ajatuksia tulevaisuuden toimittamisesta:
"Sari" (live-lähetysten mielekkyydestä): http://socialwebtoolsyle.posterous.com/livena-verkossa-vai-miten-haluatte
SOMA on Ylen ja Metropolian yhteinen kurssi sosiaalisen median hyödyntämisestä.
http://somakoulutus.posterous.com/
Isällinen toimittaja neuvoo nuorisoa toimittamaan.
http://atuubi.yle.fi/videot_ja_kuvat/id-100377
Atuubi luo lupauksia kansalais jounalismista mutta suodattaa yleisön tarjontaa valikoimalla näytettävät ohjelmat. Sopivuuteen vaikuttaa ehdotta aihe, tapa käsitellä aihetta sekä ohjelman laatu. Toimittamasi materiaali voidaan käytetään ilmoittamatta ja korvaamatta televisio ohjelmien insertteinä.
Suomen perinteikkäin ja vanhin verkkoradio:
http://www.hear.fi/
Testing of mobile video streaming services (great post with latency tests etc.)
http://mobile-streaming.blogspot.com/
Regarding Bambuser mobile streaming.
http://www.open.ac.uk/blogs/otih/?p=167
YLE - National broadcasting Company on Bambuser etc.
Round 1.
http://blog.bambuser.com/2010/01/bambuser-signs-finnish-public-service.html
Yles biggest project for crowd sourcing (nifty slogan on page reads: squeeze your stuff to the atube.)
http://atuubi.yle.fi/laheta_video_tai_kuva
Atubis progress on Dipity:
http://www.dipity.com/Atuubi/personal/map#timeline
"The generic esthetics of performance documentations and visual representations include": (Thread started by Alexandra Smirnoff collected by Verena Stenke Pagnes):
http://www.facebook.com/notes (You need to log on to Facebook to see this)
On Glitch
"A glitch is like the wind blowing through a speaker's hair. A glitch injects lived affect into the live utterance. Glitches arises from the immanent "world." (According to Heidegger, "the world" consists of things connected to other things within being.) Of course, once we digitize and increasingly "mediate" our human language, then the coughing, sputtering, extra-semiotic forces of the world can more readily (and radically/rootedly) modulate our language, at increasingly deeper and more fine-grained structural levels. The static of the world gets trapped in our mouths."
Curt Cloninger. GltchLnguistx: The Machine in the Ghost / Static Trapped in Mouths (2010)
http://lab404.com/glitch/
Software:
Use mobile phone as a webcam over bluetooth etc. (Mac - Etc.)
http://www.movino.org/
Patch audio between software (Mac - ?)
http://cycling74.com/products/soundflower/
FMLE Media encoder (Mac - PC - ?)
http://www.adobe.com/products/flashmediaserver/flashmediaencoder/
"Camtwist". Mix video sources, effects and movies live (Mac)
http://allocinit.com
Other:
Helsinki based local TV
http://www.m2hz.net
Where the Counterculture Prevails - Peter Coyote
http://www.youtube.com/watch?v=zV3qLXhmSLQ
Pixelache presentation (2009) by Sara Sajjad of The Piratebay and others
http://vimeo.com/3998605
Please leave a comment and help us build the system so that it would suit your needs better!
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