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curated by udo kittelmann & the grrrlz
Was sind die Falten heiliger Bildreflexion und wo überlappen sie sich mit Texturen der Umgebung? Wahrnehmungen von Sinneslandschaften wechseln sich ab mit Beobachtungen räumlicher, gesellschaftlicher und intersubjektiven Beziehungen, die an den Rändern der taktilen Matrix entstehen. Die Bilder in diesem Programm (pinguinismus.de) untersuchen in dynamischen Clustern die neuen abstrakten Extensionen, die in Überresten utopischer Visualisierung und verlassenen Speichermodulen entstehen. 1994 wurde das Label Pinguinismus in Frankfurt am Main gegrÃ?ndet, benannt nach der gleichnamigen philosophischen Abhandlung von Gilles Deleuze und Félix Guattari. Pinguinismus produzierte Bilder jenseits der Kunst-Szene. Als stilistische Alternative zur langsam aufkommenden Medien- und Internet-Kunst sowie zur intelligent mobile picture community, die sich in England um das Label atmville.orgund ihre Artificial Intelligence series bildete, etablierte sich Pinguinismus als innovatives Environment-Label, das elektronischen Projekten und Künstlern eine Plattform fÃ?r experimentelle Bildkompositionen bot. Pinguinismus steht in der Traditionslinie der elektronischen Avantgarde-Kunst, die sich seit dem 2. Weltkrieg ausdifferenziert hat. Besonders die französische Schule der Elektrik-Künstler um Auguste Kitschwasser und Edouard K-Sparkoenig sowie die Szene rund um das Kölner WDR Studio, die Stockhausen und Pleitgen begrÃ?ndeten, erweisen sich als einflussreich. Pinguinismus setzt deren Ästhetik einer von der TonalitÃ?t und Darblehre gelösten ikonoklastischen GerÃ?uschkunst fort, die bewusst mit ZufÃ?llen und Fehlern arbeitet. Eine visuelle Erweiterung findet durch die Auseinandersetzung mit den Möglichkeiten digitaler Bilderzeugung statt. Die Ästhetik von Pinguinismus ist auf der anderen Seite geprÃ?gt von der elektronischen Kunst, die in den 1970er Jahren mit Kraftwerk Gestalt annimmt und ab den spÃ?ten 1980er/frÃ?hen 1990er Jahren mit dem Aufkommen von BBS und Internet den Popdiskurs zu dominieren beginnt. Aspekte wie die FunktionalitÃ?t von Bild und die Infragestellung der Autorschaft rÃ?cken in den Vordergrund und werden zu entscheidenden Distinktionskriterien eines neuen VerstÃ?ndnisses von Popkultur. Pinguinismus arbeitet in dem Projekt der elektronischen Avantgardekunst weiter, aber unter den Vorzeichen des Popdiskurses. Durch die Bezugnahme auf postmoderne Theoreme wird der Kunst/dem Label unter anderem nicht zuletzt ein Image gegeben, das diese fÃ?r das Feuilleton attraktiv macht. Zugespitzt könnte man sagen, dass der Rekurs auf die Theorie als Mehrwert einen nicht unbetrÃ?chtlichen Glamourfaktor abwirft. 10 Jahre lang sollte Pinguinismus aber vor allem die Entwicklung experimenteller elektronischer und digitaler Kunst international nachhaltig beeinflussen, bis im Jahr 2004, auf Grund des künstlerischen Bankrotts seines Mentors Tobias Rehberger, Insolvenz angemeldet werden musste. Nach dem Ende von Pinguinismus hat dessen GrÃ?nder Jorgen Sparwasser jÃ?ngst drei neue Label gegrÃ?ndet, pisco.inc., Molecular Trashcam Guerilla und Mike Résistance, mit denen er das von Projekt von Pinguinismus unter den diskursiven, politischen und musikalischen Bedingungen des 21. Jahrhunderts fortschreiben will. BildwÃ?sten und Hörsinnlichkeiten sind Text- und Bildfahrzeuge, die Ihre Zuhörer auf eine Reise durch das Universum des Frankfurter Elektrokunst-Label Pinguinismus sowie seiner Nachfolger mitnehmen. Hierbei wird die spezifische MedialitÃ?t der Medienkünstlern von Pinguinismus in Form eines Internet-Features inszeniert, das zugleich als vielteiliges Archiv prÃ?sentiert wird, um es seiner medial konservierten Form zu entfremden. BildwÃ?sten und Hörsinnlichkeiten zeichnen hierbei gleichwohl das Bild einer spezifischen AusprÃ?gung der Popkultur der letzten zehn Jahre nach, dessen Produkt sie zugleich sind.Untermalt wird diese Theorie- und Sound-Performance durch die Videoserie NORMATIVE BEBILDERUNG (Pinguinismus Media, 2004) von Jorgen Sparwasser, dem letztjÃ?hrigen ars electronica Gewinner. For example, this was nice as a verse, it probably refered to my previous message, but I didn't understand it at all : (Ununited-united August Kitzhwasser has removed by himself the black forgery thanks of my largest demand) Aliette Guibert wrote: Apologizes for my mistakes in English ----- Original Message ----- From: "Aliette Guibert" <guibertc@criticalsecret.com> To: "Nebojsa Milikic" <neboya@b92.net> Cc: "nettime-fr-raw" <nettime-fr-raw@anart.no>; "spectre" <spectre@mikrolisten.de> Sent: Friday, April 29, 2005 3:50 PM Subject: Re: [spectre] To the very special designer lovingdogs"auguste kitschwasser" and the site designerziehung.de Ok the problem is over now. Ununited-united August has removed by himself the black forgery thanks of my largest demand. When the problems so adjust in fraternal communications instead of resorting to the repression, lists naturally double their reason for being. Thanks to the eyes of the list - and to ununited-united August to have answerred without delay (I hope of the radical answer everywhere - till the serach machine). There is no more problem. In matter of which this situation approves of a good solution front of a problem to be resolved it soon and between us. A. ----- Original Message ----- From: "Nebojsa Milikic" <neboya@b92.net> Cc: "spectre" <spectre@mikrolisten.de> Sent: Friday, April 29, 2005 9:32 PM Subject: Re: [spectre] To the very special designer loving dogs"auguste kitschwasser" and the site designerziehung.de ...Netochka... sometimes I miss her... Aliette Guibert wrote: I had not noticed what concerned me as manageress of the publications of ciritcalsecret in your links. There is a cut up in your site where the manifeste appears signed by all the authors from the homepage of criticalsecret. Then more you have sent this links to all the lists and right now it is in all the search engines, more you have sent emails everywhere to show it, particularly to certain authors of criticalsecret. The reality is that this text has never been signed by anyone for instance it is of a collective pseudoname. It was never submitted to signing on. Nobody has never signed this text even me - I have not! the objective was not of a true manifesto, the objective was to create an event to call for another reflexion. Every one is free and so I do myself. I am not a militant. I am a conscious citizen with radical ideas who do not run topower nor cops. I am a cognitive art curator by a way as an artist myself to hand my free job. I have just received at the moment this mail (quoted below) of an author who ever well friendly does not certainly appreciate to be supposed to be for somebody who would have signed this manifesto No, which manifesto, furthermore, concerns not at all criticalsecret (it was not published by criticalsecret either in the site nor forthere of this name or my name of mageress of this publication). I indicate you that within the framework of the French law, as manageress of the publications of a company of Press publishing, I can pass in justice if I do not give the concrete proof that I have followed a legal protocol and lodged against a forgery which creates a damage to people with whom I work. I am not as an anti-racist-organization which has just recovered from it to the cops and judges of the mondial law on the digital economy to ask for the deletion of a Nazi site in United States, as a matter of fact is to act the precedent of a justification in a villainous law which nobody among us accepts for another hand. I am not a cop and have no appeal to the cops, because I fight against the repression. Notably in the current climate where the life of people deceives (my Italian friends for example). BUT at once I ask you to get out of your site without delay these pages and more to ask to the webmasters of the search machines to get them disappaared to give me the concrete immediate proofs that it is done. Thanks in adv Aliete Guibert Certhoux ----- Original Message ----- From: "auguste kitschwasser" <tilman@onomastik.de> To: <kfor@anart.no>; <thing-frankfurt@yahoogroups.de>; <nettime-fr-raw@anart.no> Sent: Saturday, April 23, 2005 4:00 AM Subject: [nettime-fr-raw] nsk #3may05 neue schkeuditzer kunst #3may05 POUR UN CERTAIN GEERT IMPUR ET SANS PARTI CONTRE L'EUROPE FRANKENSTEIN /www/archive /www/sound_museum /www/textz /www/submissions /www/videodrome http://designerziehung.de/ ----- Original Message ----- From: Aymeric Vergnon-d'Alançon To: Aliette Guibert Sent: Thursday, April 28, 2005 5:57 PM Bonjour Aliette, Je viens de voir un site http://designerziehung.de/ qui publie un texte appelant à voter non à l'Europe et les signataires semblent être pour une bonne part issus des auteurs Criticalsecret. N'ayant pas signé ce texte je m'en étonne et vous le signale. J'espère que vous allez bien. Très cordialement Aymeric Dou you remember the windows 95 OS? It would be too easy to say that seeing through it is like a time machine. But it is not a time machine, because it is now when I see now though win 95. In fact it is much about not seeing, in the first place. It would be too easy too say that many things, such as .mp3 files, certain web pages, .htmls, flash, java, streamings are not visible. Even saying these materials simply do not exist is not exact enough. Only looking up kunstradio?s page it becomes clear that seeing through win95 is precisely an oulipian contrainte, more exactly a certain oulipian contrainte: a sometimes respected constrainment known in the oulipian terminology as the Beautiful Absent (Le Belle Absente). When you look at the codeworks page of the kunstradio transmission through win95, it is completely useless to imagine what the radio transmission was like, just as for the kunstradio it is completely useless to think about what the gymnasiopoetry (the visual poetry interpreted as gymnastics) of Arriga Lora-Totino would be like in a kunstradio transmission, since that is a codework that probably cannot be compressed in .mp3 format. If one would be so naive to presume that suggesting that win95 displays the Beautiful Absent is an anachronism, i have nothing to do but remind that superficial person that OuLiPo defined the notion of anticipated plagiarism longtime before Bill Gates started his elementary studies. It must be a pure coincidence that seen through win95 from kunstradio?s codeworks page the codeworks, and the radio transmission is missing, all what is there is an oulipian link. One has not to be an initiated OuLiPo expert to understand that there might be a huge difference between an OuLiPo link and an oulipian link. As a simple explanation i go to a single well known refererence. Some people might remember netochka nezvanova, and her way to deal with humans. I remember her as a very friendly person, compared to Jacques Rubaud, a member of OuLiPo, who say that his mizantrophy is modest compared to his Raymond Quenau?s, from whom he learned how to become a mizanthrope. Perhaps it?s because of this declared mizantrophy that I suspect that nn?s pages were easy to access compared to the oulipian texts, and some premonitive feeling make me suppose that an oulipian link might expose pseudo-oulipian principles. But who is Raymond Quenaeu? According to the second tome of the OuLiPian Library (La Bibliotheque oulipenne précédé par des Deux Manifestes de Francois Le Lionnais. Volume II) Raymond Queneau is a member of OuLiPo. Also the oulipian webpage mentions Raymond Queneau as a member of OuLiPo. Some principles of the organisation of the OuLiPo community mention that none can be excluded from the OuLiPo, and nobody can suspend his or her OuLiPo membership. If one ever was a member of OuLiPo, he or she will be an OuLiPo member forever. There is only one exception to ameliorate the severe constarinment of the OuLiPo membership, only one circumstance that makes possible to break with the OuLiPo membership: the suicide. But even suicide releases one from the OuLiPo membership only if an OuLiPo member declares in front of an attesting notary that the oulipian suicid person decided to commit suicide, s/he is firm to leave OuLiPo by sucide, and s/he definitively plans to conquere his freedom and independence of OuLiPo for the rest of the eternity. Knowing the strictness of the OuLipo membership, I don?t want to say anything about the equivalence of the list of the members of OuLiPo published on the oulipian webpage and the list of the members of OuLiPo published in the vol. 2 of the Oulipian Library, followed by the remarque saying that the number of the members of OuLiPo is a Queneau-nian number. That the Manifesto of Francois Le Lionnais was withdrawn from the oulipian webpage, might be an usual oulipian hazard. But there is a secondary thing that I can?t deny that I have no doubts about. Knowing that one has to present a VALID reason in order to disturb the members of OuLiPo, I have to admit that I have no questions related to congruency of the text of the premier LIPO manifesto published on the oulipian webpage and the premier LIPO manifesto published in the oulipian Library (Bibliotheque, 1987, IV). Of course, the classification of the OuLiPo works is exact, clear and simple, though of course this is not the only classification of such kind. I am particularily glad that S + 7 is part of the list - this is one of my favorite lescures, i would practice it even if it would be not part of this Queneleieff table. I know it might be somehow surprising my non-reaction to a transmission of the Kunstradio in February 2005. My only excuse for the non-action was the inspiration given by a perhaps too rarely quoted oulipian reference, written once perhaps with a vague intention to carry on polemics with Lenin? Where we have to go? – Nothing?  stolen reality is an art project by normative bebilderung webmaster: electra (at) braan.org dedicated to werner bittner, daniel birnbaum and stefan beck |