MM: Do you think nepotism and privilege might actually be a thing?
JS: Nah, it’s the story they tell children to frighten them at night.
– Heard the other day on the podcast Reconcilable Differences #88 hosted by John Siracusa and Merlin Mann (at 48:00 min)
Link to In Terms of Performance – intermsofperformance.site/keywords – simple yet thoughtful collection of ideas, terms and perspectives about performance and artistic practice.
In May this year, Paul Hughes, Hamish MacPherson and I had a residency at S’ALA in Sassari, Italy. There were no planned outcomes from the work we did together but we ended up writing a document in which we reflect on our experiences.
The document is a PDF and is called We Took Photographs:
Igor and Moreno’s remarkable dance called Idiot-Syncrasy is being presented once again at The Place in London. It’s on Tuesday 9 October 2018, and you live in London (or nearby), and you haven’t seen it before, or want to see it again, now’s your chance.
Igor and Moreno bounce out the pleasures and perils of unison with one another; they tease out where idiosyncrasy and love lie within the rhythms of human life.1
Details at https://www.theplace.org.uk/whats-on/igor-and-moreno-2.
I’ve posted before about The Electronic Frontier Foundation – the non-profit organisation that defends “digital privacy, free speech, and innovation”.
Today they posted some details about the upcoming vote on the EU’s proposed Copyright Directive. The EFF uses some pretty fierce language in relation to articles 11 and 13 of the proposal. They describe it as an “extinction-level event for the Internet as we know it”1.
Under Article 11 — the “link tax” — online services are banned from allowing links to news services on their platforms unless they get a license to make links to the news; the rule does not define “news service” or “link,” leaving 28 member states to make up their own definitions and leaving it to everyone else to comply with 28 different rules.
Under Article 13 — the “censorship machines” — anyone who allows users to communicate in public by posting audio, video, stills, code, or anything that might be copyrighted — must send those posts to a copyright enforcement algorithm. The algorithm will compare it to all the known copyrighted works (anyone can add anything to the algorithm’s database) and censor it if it seems to be a match.
And the (inevitable) Star Wars simile: “using mandatory algorithmic censors and new intellectual property rights to restore balance is like Darth Vader bringing balance to the Force”2
The EU vote is on 12 September 2018 and the EFF take action page is at https://supporters.eff.org/civicrm/mailing/view?reset=1&id=9327
When I was developing as an artist in Melbourne the one magazine that seemed to matter in the world of art, dance, theatre, media art and performance was RealTime. It came out monthly and would be dumped in large piles at different art institutions. RealTime gave me a sense of the art that was happening in all of Australia (and beyond), what was possible, and also what I wanted to avoid.
Recently, RealTime released their entire print archive as searchable PDFs:
Hot off the press!! At long last RealTime print editions 1-40 are available in our online archive. PDFs of each edition preserve the look of RealTime and each is searchable — treasure chests of highly responsive reviewing, critical thinking and, yes, humour (we even had ‘sports’ columns in those days).
The archive is here – http://www.realtime.org.au/archive/ – and if you have any interest in the way art and performance in Australia has shaped and been shaped by culture, then it’s a perfect collection of materials and ideas for you.
I stumbled across this photo the other day. It was an attempt to help students understand video aspect ratios and resolutions. Talk about a helpful guide.